Detalhes bibliográficos
| Ano de defesa: |
2023 |
| Autor(a) principal: |
CAVALCANTE JÚNIOR, Dogival Alves
 |
| Orientador(a): |
VALLE, Mariana Guelero do
,
RODRIGUES, Sannya Fernanda Nunes |
| Banca de defesa: |
VALLE, Mariana Guelero do
,
RODRIGUES, Sannya Fernanda Nunes
,
MARQUES, Clara Virgínia Vieira Carvalho Oliveira
|
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal do Maranhão
|
| Programa de Pós-Graduação: |
PROGRAMA DE PÓS-GRADUAÇÃO EM ENSINO DE CIÊNCIAS E MATEMÁTICA/CCET
|
| Departamento: |
DEPARTAMENTO DE BIOLOGIA/CCBS
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Palavras-chave em Inglês: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
https://tedebc.ufma.br/jspui/handle/tede/5148
|
Resumo: |
This research aims to analyze digital animations produced by Biology teachers in initial training, with the aim of understanding the pre-production and production stages of these audiovisual materials. This is a research with a qualitative approach and a case study method, in which the participants are teachers in initial training on the Biological Sciences course, Cidade Universitária Dom Delgado of the Federal University of Maranhão-UFMA. The data were analyzed based on categories constructed a posteriori, adapted from Carvalho et al. (2007) and Gomes (2008) in order to characterize the scripting stages and the animations themselves. The categories created were based on Bardin's categorical content analysis. The results in relation to the scripting phase showed that some participants attributed human characteristics to animals and objects in the story category, a process called anthropomorphization. When analyzing the script category, most participants produced a summarized description of the scenes in a script (scaleta), suggesting the actions and narrative arc of the characters. In the last stage of scripting, we observed that the majority of storyboards were classified as illustrative because they present drawings that represent the majority of what is found in the story. In view of the analysis of the animations produced, we observed that for the image category, although some animations presented image-text interaction, the presence of letters with reduced size and rapid text presentation was verified, which can cause difficulty in reading. In the image-audience interaction, two animations brought texts in balloons associated with the images showing questions related to the themes involved in the animations, which could lead the viewer to seek answers to the questions raised. When analyzing the technical-aesthetic aspects category, we observed that in the color category, the majority of scenarios, characters and structures were produced from a combination of warm and cold colors. In relation to lighting, it was observed that some animations had a scene depth effect, depending on what was being illuminated and how this light fell on that object, in addition to depth of field effects, where the focus goes beyond the object. The results referring to the analysis of the framing subcategory showed that three animations presented a better framing of the images, probably obtained by some support that provided the stability of the smartphone. In the sound stimuli subcategory, it was observed that some animations had a musical background throughout the entire duration of the animation. In the signaling subcategory, different colors were observed, absence of indicative arrows directed to the biological structure, and words to identify the structures and phenomena involved. In addition to producing scripts and animations, at the end of these stages, participants answered a questionnaire about their experience with animations, where they were able to report the importance of preparing the pre-production stages in sequence, the work that the activity requires, as well as improvements in more technical issues related to sound and lighting effects and photographs. |
