Dissertations / Theses on the topic 'Moral pictures'
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Carbonaro, Joseph. "Enabling church members to evaluate the moral content of feature films." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Yang, Julianne Qiuling Ma, and 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.
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Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation in modern society and media, Andersson uses his films and his distinct tableau aesthetic to explore the key social, political and philosophical issues of our times: the human condition, the problems of modernity, and the lingering legacy of past historical traumas.
This dissertation presents a study of Andersson’s aesthetic and thematic concerns. The central thesis is that his films continue and innovate key stylistic and ideological tendencies associated with modernist painting and theatre. The introductory chapter serves to justify why Andersson’s work represents a “modernist structure of feeling.” Besides giving an overview of the key ideas, themes and stylistic techniques that mark his films, the introduction explains the humanistic philosophy that is central to not only his aesthetic and thematic concerns, but also his approach to filmmaking itself. The topics that emerge from this introduction – including the function of Andersson’s distinct tableau aesthetic, the thematic richness of his films, and his position within contemporary Nordic cinema and global art cinema – serve as points of departure for the thesis proper.
Chapter 1 focuses on Andersson’s tableau aesthetic, its relationship to his overall tableaux narrative structure, and the influences of pictorial arts and earlier cinematic trends on his style. The chapter discusses the director’s justification for the tableau aesthetic and narrative structure, and what it may tell us about the limits of conventional narrative cinema, and cinema’s relationship to the other arts.
Chapters 2-4 explore three of the central themes in Andersson’s work: the human condition, the critique of modernity, and the lingering legacy of past historical traumas. Chapter 2 focuses on the human condition as a theme in You, the Living (Du Levande, 2007) and compares the film thematically and stylistically to the Theatre of the Absurd. Chapter 3 analyzes Songs from the Second Floor (Sånger från andra våningen, 2000) and its critique of the Swedish welfare state, modern institutions and ideologies. Meanwhile, Chapter 4 looks at the changing ways that Andersson has artistically rendered the topic of historical traumas during the course of his career. In the concluding chapter, Andersson and his films are discussed within the wider contexts of the Swedish film industry and global art cinema.
This dissertation, then, has a two-fold aim: to illuminate the thematic and stylistic richness of Andersson’s much under-researched films, while also critically exploring how his films may move us towards a cinema of contemplation.published_or_final_version
Comparative Literature
Master
Master of Philosophy
3
Lee, Shuk-man, and 李淑敏. "From cold war politics to moral regulation : film censorship in colonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197504.
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Through the case of film censorship in Hong Kong from the late 1940s to the 1970s, this thesis explores the local impact of the international Cold War. It argues that Cold War politics shaped the nature of local policy. The first chapter investigates the reasons for the rise of film censorship in the late 1940s and the 1950s. It argues that three levels of Cold War tensions led the Hong Kong government to focus on political censorship. Tensions within the British Empire, between the Hong Kong government and foreign governments, and those between local communists and the Hong Kong government led censors to target communist films, foreign governments’ official films, and films echoing local political events. Among these films, those from China remained the primary target. During the period of political censorship, the Hong Kong government ignored the needs of local viewers and focused on reacting to external forces. The second chapter examines how in the 1960s local communists launched two campaigns against the suppression of Chinese films. It argues that the campaigns in 1965 and 1967 showed the influence of the Cold War, as these communists threatened the Hong Kong government that continued suppression of Chinese films would worsen Sino--‐‑British relations. It explains why the 1965 campaign succeeded in forcing the government to adjust its policy towards Chinese films but the one in 1967 did not. Since the late 1960s, Cold War tensions had been easing, particularly between China and Britain. The importance of political censorship and the external aspects of film censorship in Hong Kong started to diminish. Setting the stage for the localisation of film censorship in the 1970s, Chapter Three explores another duty of film censors in the 1960s, to examine sex and violence. By studying the debates about film classification and the censorship of the local film Death Valley (Duanhungu 斷魂⾕谷), this chapter argues that the government did not understand the goals of moral censorship even after examining films for more than twenty years. And it still did not sincerely engage with the Chinese population. The final chapter, on the 1970s, shows how the easing Cold War tensions directed the Hong Kong government to focus on moral censorship of films that was in accordance with the other social policies such as fighting prostitution and violent crime. Localisation of film censorship was followed by comprehensive reforms. The 1970s witnessed the government’s first serious attempt to engage the Chinese public in censoring films.published_or_final_version
History
Master
Master of Philosophy
4
Lai, Wai-ting Thomas, and 黎偉廷. "Wagering love between desire and discipline: a study of sexual power in Eric Rohmer's Six moral tales." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46848836.
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Lau, Tsz-wan Christal, and 劉芷韻. "Ethics in the production of Hong Kong movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39559105.
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Hull, Thomas William Allan. "Selling Moral Panic: Social Scientific Criticism of Movies and Comic Books for Children, 1925-1955." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1263949945.
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羅樂. "摩登"閨秀": 早期中國電影的儒家道德美學與現代性= Modern guixiu: Confucian moral aesthetics and Chinese modernity in early Chinese." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/466.
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在30年代主流文化界和知識界繼續熱誠地、全然地追求現代性時，一些現代傾向（modernist）的文化知識份子在電影和其他媒體中更多元地實踐着五四時期菁英知識份子的"全盤反傳統主義"(Totalistic Antitraditionalism)，他們將這種熱情訴諸于積極塑造以新興的知識女性為代表的中國"新女性"身上。 然而，在對電影這樣新興舶來品的媒介使用和對西方一些基本"電影語言"（cinematography）的效仿中，某些源于儒家的中國核心傳統價值和審美觀念，被有意識或無意識地挪用到電影人物形塑和審美韻味的建構中。這樣，不僅傳統經典的"儒家閨秀"藉着當代知識女性的新身份被重新包裝和再現，一些極具中國美學特色的電影處理技巧也在其中雛形漸現。更重要地，傳統閨秀的美學特點解釋了新的受教育女性謂之"新"的原由。本文（1）將從"美德"這一概念的傳承和模糊性入手，追溯禮教、道德之于傳統人物建構的意義和時代困境；（2）通過淺論閨秀人物與儒家美學思想的關係，以梳理多重道德審美的層次，並提煉"節"、"止"、 "制"的傳統美學建構機理；（3）通過提煉的這套可以參照施行的電影分析途徑，分析相關電影並蒐集分析證據；（4）借用銀幕內外的實踐策略來梳理和回應"傳統與現代"不同層次的矛盾衝突、協作重構，最後不僅可以進一步探究以30年代電影人為代表的人物思想矛盾，還可以辨析中國現代性的駁雜深刻之處。 In the 1930s when dominant intellectuals were cordially and overtly aspiring over modernity, a bunch of modernist intellectuals diversely practiced Totalistic Antitraditionalism inherited from MFM (May Fourth Movement) elite, on silver screen and other media. The educated women are both mediated representatives of Chinese "new" women and bearers of modernists' passion and dreams. Nevertheless, while accessing the film (as exotic and "new" medium then) and imitating western cinematography, some traditional core values and aesthetic ideologies rooted in Confucianism are consciously or unconsciously appropriated in constructing characteristic and auratic aesthetics on silver screen. Hence, not only the classic Confucian guixiu has been repacked and represented with new identity as contemporary educated women, but also some Chinese aesthetical patterns have emerged in film. More importantly, the aesthetics embedded in classic guixiu explain why new educated women are representatives of the "new". This paper (1) starts with the inheritance and ambiguity of the concept "meide (virtue)", before deploying how conventional Li (rites) and Daode (moral) contribute to both constructive significance and chronic dilemma of characters. (2) By virtue of analyzing classic guixiu and Confucius aesthetics, it is further enacted how moral aesthetics are enriched with multiple layers. Moreover, a type of constructive mechanism related to abridge (jie), stop (zhi) and restraint (zhi) is generalized. (3) Then, it deduced some framework that could be approached to filmic analysis as well as collecting data. (4) Lastly, the question about "traditional and modern" will be echoed with on and off screen strategic practices, in terms of contradiction, conflict, collaboration and reconstitution on different levels. Thus, not only the rooted dilemma in the 1930s could be revealed by means of analyzing contradictions of filmic people, but also the hybridity, heterogeneous and profundity of Chinese modernity could be further indicated.
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Dantas, Bianca Salles 1977. "O cinema animalista : a imagem em/no movimento pelos animais." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285230.
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Orientador: Fernão Vitor Pessoa de Almeida RamosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T08:43:59Z (GMT). No. of bitstreams: 1 Dantas_BiancaSalles_M.pdf: 20978659 bytes, checksum: 9a6eaf8e810d8dfeeffa77e3c17e999d (MD5) Previous issue date: 2014
Resumo: A presente dissertação tem por objetivo mapear e analisar como se configura o que aqui denominamos como cinema animalista e as relações com o movimento social que o originou. Traçaremos o seu desenvolvimento em paralelo ao avanço do movimento social desdobrado na Inglaterra a partir da década de 1970, detalhando a produção cinematográfica a fim de compreender como e com base em quais instrumentos esta produção cultural militante se formou e se configura hoje. Tendo em vista seu horizonte histórico, traçaremos uma linha progressiva em relacionamento com o movimento social nos Estados Unidos, em alguns países da Europa, e no Brasil. Investiremos na análise dos aspectos estilísticos, autorais e políticos no interesse de verificar se tais narrativas estão de fato propondo mudanças de paradigma, encorajando o pensamento contra-hegemônico e desafiando o especismo. Finalizamos o trabalho apresentando uma base de dados da produção cinematográfica animalista, oferecendo filmografia, sinopses e outras informações relevantes obtidas durante o processo de pesquisa
Abstract: This dissertation aims to map and analyze the shape of what is called here as animal rights cinema and its relationships with the social movement originated it. We shall trace its development in parallel with the expansion of the social movement emerged in England in the 1970s, detailing its filmmaking in order to understand how and based on what instruments this activist cultural production was formed and takes shape today. Considering its historical horizon, we shall draw a progressive thinking in relationship with the characteristics of the development of the social movement itself in the United States, some countries of Europe, and in Brazil. We shall emphasize an analysis based in stylistic, authorship and political aspects, verifying if these narratives are in fact proposing paradigm shifts, encouraging counter-hegemonic thinking and challenging speciesism. We end this work by presenting a database of animal cause filmmaking, offering filmography, synopses and other relevant information obtained during the research process
Mestrado
Multimeios
Mestra em Multimeios
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Jones, Nicola C. "Perspective Taking and Relative Clause Comprehension: A Cross-Modal Picture Priming Study." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1671.
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Fourteen young adults participated in a cross-modal picture priming study. Perspective shift processing, in four types of relative clause sentences and in control sentences, was assessed using reaction times. Predictions were: 1) the easier the perspective shifts, the faster the reaction times and 2) subject relative clauses would reveal a priming effect versus attenuated or no priming in object relative clauses due to difficulty following perspective. A priming effect was observed for 1- switch relative clause sentences and for control sentences, while no priming effect was observed for 0 switch, 1+ switch, or 2 switch sentences. Results suggest that variations in local syntactic constructions and word order facilitated relative clause processing. Violations of semantic expectations and noun-noun-verb distance in following perspective can both contribute to the complexity of relative clause processing.
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Zeng, Hainan. "Hybridity, Fluidity and Ingmar Bergman's Alternative Moral Picture : The ideological value of Fanny and Alexander (1983)." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169627.
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Bergman has claimed that he does not have any ideological intention behind his films. He has also been generally criticized for his bourgeois outlook and lack of ideology. Among the vast amount of Bergman studies as well, the ideological aspect of Bergman’s films has been an under-researched area. This thesis will focus on the five-hour television version of Fanny and Alexander (Ingmar Bergman, 1983) and investigate the interrelationship between the formal features of narrative, character, music and their ideological functions, utilizing ideological and formalist approaches. The premise of this study is: films are cultural products that implicitly or explicitly carry ideological messages. Bergman’s films are no exception. Through the blend of contradictory elements in narrative and the representation of fluid subjectivity, Bergman’s cinematic vision provides an “alternative moral picture”, an expression coined by Hector Rodriguez, and functions as ideology critique. This thesis intends to shed more light on the ideological value embedded in Bergman’s films in general, and Fanny and Alexander in particular, and contribute to a comprehensive field of Bergman research.
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Olsson, Linda. "The Unacceptance of a Sinful Protagonist's Moral Standards : The Cause and Effect of Censoring Oscar Wilde's The Picture of Dorian Gray." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35013.
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The aim of this essay is to show the significant effect censoring Oscar Wilde’s The Picture of Dorian Gray had on the protagonist’s moral standing. I compare the original uncensored version of The Picture of Dorian Gray with the censored version. The uncensored version, published by the Belknap Press and edited by Nicholas Frankel, has only been available to the public for three years. My comparison proves that a great deal has been changed in terms of content between the two versions of the novel. This essay will outline and discusses the changes made in order to make the text acceptable in terms of late Victorian moral conventions. It also illustrates the changes by comparing quotes. The function of the censorship applied to the novel is to make Dorian seem more callous and immoral in the 1891 book version, since only then can Oscar Wilde’s story approach the standards of late Victorian morality. Indeed, a significant change has been effected in the character Dorian Gray’s morality between the two versions of the novel.Syftet med den här uppsatsen är att visa vilken betydande effekt censureringen av Oscar Wildes The Picture of Dorian Gray hade på huvudkaraktärens moraliska ståndpunkter. Jag jämför den ocensurerade versionen av The Picture of Dorian Gray med den censurerade versionen. Den ocensurerade versionen som publicerades av Belknap Press och redigeradesav Nicholas Frankel, har bara varit tillgänglig för allmänheten i tre år. Min jämförelse visar att en stor del av innehållet har förändrats mellan de båda versionerna av romanen. Den här uppsatsen visar samt diskuterar förändringarna som har gjorts för att texten ska bli mer acceptabel i förhållande till senviktorianska moraliska konventioner. Uppsatsen illustrerar förändringarna genom att jämföra citat. Poängen med att censurera den här romanen var att få Dorian att verka mer hjärtlös och omoralisk i bokversionen från 1891. Bara då kunde Oscar Wildes berättelse närma sig den viktorianska moralen. Man kan se en tydlig förändring av karaktären Dorian Grays moral mellan de två versionerna.
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Hall, Anna. "”...to love what Death doesn’t touch” : Om tavlor och moraliskt förfall i The Picture of Dorian Gray och The Goldfinch." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323972.
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En komparativ uppsats som illustrerar tavlans inverkan och betydelse i Oscar Wildes The Picture of Dorian Gray (1891) och Donna Tartts The Goldfinch (2013). Fyra huvudteman utröns: tavlan som tidlöst objekt, undangömd, människans spegelbild och moraliskt korrumperande.
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Walsh, Matthew L. "Adventures of Kody a children's visual storybook and interactive web site." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4526.
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In order to experience unconditional love, prejudices must be exposed and overcome. People often meet others with a disability or handicap and unknowingly treat these individuals negatively. As a middle school teacher, I have often witnessed students behaving cruelly towards those that are different. When my dog became a paraplegic I was inspired to develop a project to assist young readers in the development of conscientious actions towards individuals with disabilities. This document chronicles the development, procedures, and outcomes of the process behind that artistic endeavor. The artistic elements of this thesis project are a written children's storybook and an educational interactive Web site to further teach inclusiveness to young readers. The images are real photos that have been manipulated to look like illustrations that enhance elements that are visually appealing to children in order to increase the images' communication value. The site has been designed to integrate the look and feel of the book, complementing and referencing it.ID: 029050930; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 54-60).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Studio Art and the Computer; Visual Language and Interactive Media
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Fornes, Antony. "Sens et éthique : Au cœur du discours, « Wittgenstein à l’hôpital »." Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2031/document.
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Qu’est-ce qui légitime un discours éthique ? Se distingue-t-il des autres discours ? Pouvons-nous nous entendre sur un tel sujet ? Voilà quelques questions choisies auxquelles nous allons tenter de répondre. Notre étude se nourrit des réflexions de Ludwig Wittgenstein. La position de ce dernier concernant l’éthique présente plusieurs aspects de ce thème. Pendant une période de son parcours intellectuel, elle apparaît à la fois fondamentale et taboue, alors que dans une autre, elle trouve une place dans le discours, mais s’évanouit dans un certain relativisme. En disposant une trame où l’éthique s’enchevêtre, le discours se révèle un médium crucial. Au sein de cet espace, notre enquête déterminera la cohérence de la relation entre l’éthique et la signification. En scrutant un type de discours particulier (l’éthique médicale), nous confronterons ultimement l’apport wittgensteinien sur cette question. Il nous sera alors envisageable de pointer la possibilité d’une cohérence de l’éthique au sein du langageWhat legitimizes an ethical speech? Does it distinguish itself from other speeches? Can we agree on such subject? Here are some selected questions which we will try to answer. Our study is nourished by Ludwig Wittgenstein thoughts. The latter’s position concerning the ethics presents several aspects of this thematic. For a period of his intellectual journey, it seems fundamental and taboo and for another one, it finds a place in the speech, but falls into certain relativism. By setting a background where the ethics is entwined, the speech appears as a crucial medium. Within this space, our investigation will determine the coherence of the relation between ethics and meaning. By scrutinizing a particular speech type (medical ethics), we shall confront ultimately the wittgensteinian contribution on this question. It will then be possible for us to point the possibility of a coherence of the ethics within the language
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Mai, Nadin. "The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22990.
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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.
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Alp, Erin Elif. "Screen Cleaning: Moral Knowledge and the Politics of Cinema Censorship." Thesis, 2016. https://doi.org/10.7916/D89K49RS.
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This dissertation asks how the structure of moral authority and media viewership in America has changed over the course of the 20th century. In order to address this question, I examine the ways in which American films are, and have been, labeled inappropriate or appropriate for public viewership. I ask how censorship, regulation and rating systems work to create and manage moral ambiguity, and what types of ramifications moral ambiguity is thought to have on viewers. I also address the types of problems associated with American cinema over time, and propose several analytical dimensions to capture and unpack the processes of censoring cinema. This framework is built on the notions of filth and moral ambiguity, moral repercussion, a process of responsibilization, and the telos for cinema, all of which influences how an organization interacts with movies and morality. In lapses of symmetry between on- and off-screen worlds, moral ambiguity arises in ways that responsibilize either content controllers or audiences themselves. I show the links between these articulations and how the moral repercussions of exposure to cinema are defined. I also argue that where in the past moral ambiguity was commonly perceived as a dangerous aspect of cinema, especially by censors and Hollywood film production regulators, contemporary movie raters present a film’s moral ambiguity as a resource to the viewer. Moral ambiguity, if probed the right way, can lead to greater awareness of one’s moral boundaries, enabling viewers to effectively censor their viewership practices themselves. Greater responsibility of the viewer is also linked with more transparency and less rigid definitions of filth, moral repercussion, and the overall purpose of media consumption. Censoring cinema was a way in which state censors attempted to shape a “good” civil society, but the notion of how such a society might be achieved through media shifted over the 20th century. By examining the work of Hollywood’s Production Code Authority, New York State censors, pioneering sociologists and educators of the 1930s, the Film Estimate Board of National Organization’s monthly film classification decisions, and contemporary movie ratings at Common Sense Media, I develop several sub-arguments that support the larger argument that moral ambiguity has become a resource as opposed to a danger. In doing so, I expose the connections between the efforts of earlier censors and industry regulators to contemporary constructions of moral authenticity in movie reviews, and highlight in particular the responsibilization of parental audiences. To date, parents are charged not only with monitoring what their children watch, but also with instilling critical viewing skills among their children. This contrasts with previous content control techniques, wherein parents were responsibilized to make decisions for their children but were not expected to foster any specific values or skills in them, and earlier techniques, wherein parents were not responsibilized at all. I end by noting that the contemporary approach to pollution management relies on two conflicting discourses, which have influenced strategies to managing media morality throughout the 20th century. The first focuses on media research and its alleged effects on social behavior, the second on free and intelligent choices by children consumers themselves – but as this dissertation also exemplifies, both registers have echoes in earlier sites and examples of cinematic censorship and efforts to clean the screen.
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Bandyopadhyay, Sohini. "The holocaust and moral understanding : a study of the representation of moral issues in contemporary historical texts and films." Master's thesis, 2008. http://hdl.handle.net/1885/150968.
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Baker, Roy. "Child pornography in the woodshed." Thesis, 2000. http://hdl.handle.net/2429/10525.
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This is a deconstruction of "child pornography" through an analysis of media images of
child spanking and their relationship with the criminal law and cinema, video and
broadcasting regulation in Britain and Canada. It suggests that the law's primary concern
is not the protection of children but the elimination of the heresy that children are
sexually attractive.
Chapter 1 introduces the phenomenon under discussion, namely internet sites that collect
stills and clips from mainstream movies and television showing children receiving
corporal punishment. The chapter postulates that these sites are for sexual gratification
and explores what society understands by "sexual exploitation of children" and "sex"
itself.
Part I considers whether the web sites are child pornography under English or Canadian
criminal law. Chapter 2 looks at Canada's definitions of obscenity and child
pornography. Chapter 3 asks whether the images might be indecent according to
England's law. These chapters examine the law's understanding of child spanking as a
sexual act, exploring what constitutes "sex". While Part I declines to state definitively
whether such web sites are illegal, it argues that the movies and television from which the
images originate are tolerated for the reasons that give the images sexual appeal.
Part II looks at the regulation in Canada and Britain of the movies and television from
which the images are taken. Chapter 4 deals with cinema and video regulation, which
prohibits eroticising violence and children, and asks how films are nevertheless rife with
images of child beating used for sexual arousal. Chapter 5 similarly examines
broadcasting regulation and asks whether the ban on sexualising children might be
unconstitutional under the Canadian Charter of Rights and Freedoms.
Part III concludes by looking at how society permits the eroticisation of children, while
condemning the "paedophile". It suggests that the web sites may arise from childhood
trauma over corporal punishment, compares the harm of that practice with that caused by
the web sites and concludes that if there be prohibition, then it should be of child
spanking, rather than the sites, which are non-exploitative testament to ingenuity in the
face of a hypocritically censorial regime.
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Lin, Tsz-Chi, and 林慈琦. "John Dewey’s Moral Philosophy and the Moral Education in Children's Picture Books." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/49125579138812847832.
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碩士華梵大學
哲學系碩士班
99
Ever since the recorded history of human civilization, the moral education has been the foundation to maintain the progress and discipline of human society; especially in modern days when human civilization is gaining advancement, the more important and obvious the moral education becomes to human civilization, and the effect of the moral education Ever since the recorded history of human civilization, the moral education has been the foundation to maintain the progress and discipline of human society; especially in modern days when human civilization is gaining advancement, the more important and obvious the moral education becomes to human civilization, and the effect of the moral education often determines the direction of human civilization.
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Pan, Wei Yun, and 潘葦芸. "The effect of picture books instruction on sixth graders of moral education." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/48504063717939661199.
Full textAbstract:
碩士國立臺中教育大學
社會科教育學系碩士班
99
The purpose of this study is to understand the moral cognition and behavior of the sixth graders and the effects of using picture books to teach “respect” and “responsibility”. This study adopted a quasi-experimental equivalent pretest-posttest design and conducted the experiment on students of Class A of Grade sixth of Zhen-Zhen Elementary School in Taichung. Based on the picture books teaching model, the experimental instruction of the two core moral values, namely “respect” and “responsibility”, was offered in 12 periods over six weeks during April ~ May 2010. The two core moral values have eight principles of behavior, including “respect the self”, “respect others”, “respect privacy”, “respect the minority”, “be dedicated to all tasks”, “do not put off what is meant to be done today”, “perform duties of the role”, and “be brave to shoulder responsibility”. According to these principles, six picture books were selected, and six units of instruction were designed. Data collected from the experiment were analyzed using various statistical methods, including independent sample t-test, independent sample one-way ANOVA, dependent sample t-test, mean, frequency, and percentage. The findings and conclusions of this study are as the following: 1. Before the experimental instruction, the two groups of students were given a pretest of their cognition of “respect” and “responsibility”. No significant difference was found between the two groups. 2. After the experimental instruction, the two groups were given a posttest of their cognition of “respect” and “responsibility”. The experimental group is significantly difference than the control group in cognition of both core moral values. 3. A t-test of the pretest and posttest results of the experimental group was performed, and the results suggested that the experimental group had significantly better cognition of “respect” and “responsibility” after the experimental instruction. 4. The moral behavior self-evaluation and peer-evaluation completed by students in the experimental group were analyzed. Results showed that among the four principles of behavior of “respect”, namely “respect the self”, “respect others”, “respect privacy”, and “respect the minority”, the sixth graders performed best in “respect the self” and worst in “respect privacy”. 5. Besides, among the four principles of behavior of “responsibility”, namely “be dedicated to all tasks”, “perform duties of the role”, “do not put off what is meant to be done today”, and “be brave to shoulder responsibility”, the sixth graders performed best in “perform duties of the role” and worst in “be dedicated to all tasks”. Finally, this study proposed a total of eight suggestions for schools, teachers, and future researchers. Keywords: picture books instruction, moral education, respect, responsibility
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Wu, Yueh-Mei, and 吳月梅. "An Action Research on The Education of Moral Character by Jimmy’s Picture Books." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/60092985198628436746.
Full textAbstract:
碩士南華大學
視覺與媒體藝術學系
102
This study examined the influence of utilizing Jimmy’s picture books for the teaching of the education of moral character on student’s affection values based on “family love”, “life respect” and “empathy” as core values. Twenty-eight grade three students were examined in this Action Research based study. In this study four picture books “The Starry Starry Night”, “Sound of the Colors”, “Mr. Wing”, and “The Hug” were utilized as the main content of four different teaching units. In addition, various teaching activities including art creation, experiences, singing and movies were carried out in this study. The data were collected and analyzed by means of observation, interview, questionnaire and documents analysis.The findings of this research were as followed: 1. There is a positive influence on 3rd grade students’ moral values by teaching Jimmy’s picture books. 2. There are positive influences at certain levels of affective attitude demonstrated on some students’ three core values“family love”, “life respect” and “empathy”after teaching picture books with moral values. Recommendations and Indications 1. There is a need for updating teaching equipment. 2. There is a need for modification in curriculums that had not achieve improvements. 3. There is a need for continuation and further development in the education of moral character.
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He, Liu Qiu, and 劉秋和. "The resaerch of moral education in the middle grade of primary school-The teaching of picture books." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/x5kz6t.
Full textAbstract:
碩士國立臺東大學
進修部暑期兒文所碩士班
96
Abstract This research is based on the concept and spirit of action research to proceed the teaching activity of the moral education in elementary school in order to solve the issue of the insufficient in moral education curriculum. Through the progress of action research and based on the researcher
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Liu, Xiao-Yun, and 劉孝韻. "An Action Research of Using Picture Book to Implement Elementary School Moral Education Curricula- An Example of the Thanksgiving Education." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/45rk62.
Full textAbstract:
碩士明道大學
資訊傳播學系碩士班
104
This study explores the effectiveness of promoting moral education by the use of picture books and analyzes the encountered plight, its corresponding solution strategy, reflection and professional growth in the period of the course. A qualitative research method is applied to 11 students, through classroom observation, interview and document record about 21 weeks. It is concluded that picture book could help children to establish the concepts of gratitude, and the service-learning course could help children to develop diversifying abilities.
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HUANG, CHIA-JUNG, and 黃家蓉. "Discussion on the Effect of Moral Education through the Use of Electronic Picture Book- Focusing on Paying Respect to Others." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/jkjr36.
Full textAbstract:
碩士萬能科技大學
資訊管理研究所在職專班
106
The purpose of this study is to explore the effectiveness of the use of e-paintings in teaching moral education to third grade students, focusing on the core values of “respect.” Select an electronic picture book that fit the theme and design a set of moral course for third grade students. We hope to take the achievement as a reference for third-grade instructors in planning and implementing moral teaching and class management. In this study, the action research method was used. The study target was 25 students in a third grade class of a elementary school in Taoyuan City. We keep monitoring the moral teaching class for 13 weeks, from November 1, 2017 to January 23, 2018. The collected data were analyzed in a descriptive manner using the “Children’s Respect Attitude Scale” for quantitative analysis and the “Clerk Watcher Checklist”, “Parent Feedback Form” and “Teacher's Teaching Log” for qualitative analysis, respectively. Base on the analysis results we explore the effectiveness of using e-paintings to teach children's moral character in third grade. The results of the study found that most students love the teaching of electronic picture books. The teaching curriculum has a positive influence on students' moral character. Experimental results show as the follows: (1) The use of electronic picture books for moral education courses can enhance students' "respect". (2) Using e-paintings in moral education has a positive influence on improving students' concentration. (3) The use of electronic picture books for moral education courses can enhance students’ learning in different subjects. (4) Use of Emotional Personality Cards can improve students' oral expression skills.
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WEN, MENG-FEI, and 温孟霏. "An Experimental Research about the Impact of Picture Books on Moral Character Teaching, Ethical Behavior and Well-being towards Low-graders of Elementary School." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9v8tmm.
Full textAbstract:
碩士國立屏東大學
教育學系碩士班
107
This research used the picture books to discuss the impact of moral character teaching in the ethical behavior and the well-being in Lan-Tien（anonym）elementary school. First, we analyzed the situation about the ethical behavior and the well-being of the primary level students, and then we compared the difference between the moral behavior and the well-being. At last, we discussed the relationship between the ethical behavior and the well-being. 54 first grade students were studied in this quasi-experimental research. These students were separated into two groups, one was experimental group with 26 students and the other was control group with 28 students. And we referred the questionnaires by Yu-Ting Chen (2014) and the author of this thesis for the research. For 12 weeks, we taught the students to use the picture books as the moral character teaching and then tested again to collect data. We analyzed these data by descriptive statistics, one-way analysis of co-variance, Johnson-Neyman technique and independent sample t test. At last, we summarized the results as below: 1. For the ethical behavior, the first grade students were in the middle to lower level. 2. For the well-being, the first grade students were in the middle to upper level. 3. For the moral character teaching using the picture books, the ethical behavior of the first grade students were not better than using general reading education method. 4. For the moral character teaching using the picture books, the well-being of the first grade students were not better than using general reading education method. We finally provided relevant suggestions and reference for practitioners, education institutions and future researchers.
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Cornew, Clive. "The battle of changing times : picaresque parodies from Bruegel to Grosz." Thesis, 1999. http://hdl.handle.net/10500/17931.
Full textAbstract:
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on
visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction
between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of
human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships
between the above themes are chronologically traced in various disguises in pictures by representative
picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and
Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the
high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes
at work within an ever changing context-bound rhetoricity.Art History, Visual Arts & Musicology
Thesis (D.Litt. et Phil.)