Made available in DSpace on 2016-04-26T18:15:18Z (GMT). No. of bitstreams: 1 Fernando Henrique Lacerda Stutz.pdf: 1850440 bytes, checksum: 6bf9163a71562438af833a79cb8fc8c4 (MD5) Previous issue date: 2015-07-21 / In 1969 the film critic P.A.Sitney said that, suddenly, a cinema structure "had emerged." Although imprecise, his observations were responsible for triggering a long process of discussions about a kind of cinema that, in general, was characterized by self-reflectiveness and antiillusionist processes. The exploration of the filmstrip's materiality, of the alternative projection and camera-capture methods, of the different editing processes and articulation between sound and image, as well as a number of other procedures that called attention to the cinematic structure, were taken as central features of those "structural films." In the search of a genealogical approach of the facts and building on key authors of the genealogical method, especially Nietzsche and Benjamin, alongside with the help of historicaldocumentary data, this research has made clear that the emergence of a dedicated cinematography to its own structure, had derived from a historical development marked by the emancipation of cinema as art, as well as from the development for developing alternatives to the set of cinematic codes agreed by the film industry. From the avant-garde of the 1920s to the artistic movements of the postwar 1950s, the will to acquire an "essential cinematic language have mobilized artists and filmmakers to produce experimental works that questioned such codes, giving rise to the structural films. New York, London and Vienna, altogether saw the development of a filmic production that prioritized to discuss the structural basis of cinematic experience and cinematic discourse from the visual perception phenomena, to cognitive processes during the view. Heterogeneously, the so-called structural works not only cast new light on the film practice itself, expanding its limits; but also demonstrated the possibility of using cinema as an useful instrument for philosophical speculation. Making "films about films", the structural filmmakers completed the avant-garde project of employing film as an autonomous art-form, turning its attention to its own structure, and thereby making the structure of things, the man and his thought more and more visible / Em 1969 o critico de cinema P.A.Sitney alertou para o fato de que, de súbito, um cinema da estrutura havia emergido . Apesar de imprecisas, suas observacões foram responsáveis por desencadear um longo processo de discussões acerca de um tipo de cinema que, em sintese, caracterizava-se por ser auto-reflexivo e anti-ilusionista. A exploracao da materialidade da pelicula fotoquimica, dos métodos alternativos de projecao e captacao, dos sistemas matemáticos de montagem e articulacao entre som e imagem, bem como de uma série de outros procedimentos que chamavam a atencao para a estrutura do cinematografo, foram tomados como caracteristicas centrais daqueles filmes estruturais . Buscando uma visao genealogica dos fatos e tomando como base autores fundamentais do método genealogico, especialmente Nietzsche e Benjamin, aliados a investigacao de dados historico-documentais, esta pesquisa tornou explicito que a emergencia de uma cinematografia voltada para sua propria estrutura derivou do desdobramento historico de um processo marcado pela emancipacao do cinema como arte e, consequentemente, pela elaboracao de alternativas ao conjunto de codigos convencionados pela indústria cinematográfica. Das vanguardas da década de 1920 aos movimentos artisticos do pos-guerra dos anos 1950, a vontade pela aquisicao de uma linguagem essencialmente cinematográfica mobilizou artistas e cineastas a produzirem obras experimentais que problematizaram tais codigos, fazendo emergir o cinema estrutural. A partir de Nova Iorque, Londres e Viena, desenvolveu-se um tipo de producao que priorizou discutir as bases constituintes da experiencia e do discurso cinematográfico - da percepcao visual aos processos cognitivos. De modo heterogeneo, as chamadas obras estruturais nao apenas lancaram novas luzes sobre o proprio fazer-cinema, expandindo seus limites; mas também demonstraram a possibilidade de utilizá-lo como um meio útil para a especulacao filosofica. Fazendo filmes sobre filmes , os realizadores estruturais completaram o projeto vanguardista de encarar o cinema como arte autônoma que, voltando-se para sua propria estrutura, também tornou visiveis a estrutura das coisas, do homem, e de seu pensamento

Submitted by Jean Medeiros (jeanletras@uepb.edu.br) on 2016-05-10T13:32:02Z No. of bitstreams: 1 PDF - Mariana Quirino Fechine.pdf: 2582754 bytes, checksum: 47255bb02e3e58950989a67db5a34d69 (MD5) / Approved for entry into archive by Secta BC (secta.csu.bc@uepb.edu.br) on 2016-07-21T21:06:02Z (GMT) No. of bitstreams: 1 PDF - Mariana Quirino Fechine.pdf: 2582754 bytes, checksum: 47255bb02e3e58950989a67db5a34d69 (MD5) / Approved for entry into archive by Secta BC (secta.csu.bc@uepb.edu.br) on 2016-07-21T21:06:12Z (GMT) No. of bitstreams: 1 PDF - Mariana Quirino Fechine.pdf: 2582754 bytes, checksum: 47255bb02e3e58950989a67db5a34d69 (MD5) / Made available in DSpace on 2016-07-21T21:06:12Z (GMT). No. of bitstreams: 1 PDF - Mariana Quirino Fechine.pdf: 2582754 bytes, checksum: 47255bb02e3e58950989a67db5a34d69 (MD5) Previous issue date: 2016-03-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In an effervescent national and regional scene in terms of audiovisual production, Paraíba stands out not only for its productivity, but also for the notoriety it has achieved through movie festivals that have taken place in the State. Presently, a total of seventeen events of the type were held, attracting innumerous people, moving the local economy and incentivizing artistic production and tourism. This research focuses on analyzing the relations between culture and development that come from movie festivals in the State; observing, in addition: the articulations of the Audiovisual Production Chain of Paraíba and investigate the social and economic effects of the cinematographic production in the State, seen that the initial hypothesis is based on the feedback relation that exists between cinema and society. For this, qualitative analysis and interviews were used as a manner of obtaining research data, based on the methodology of “impact study of projects or cultural actions”. The activities of movie festivals held in 2015 were analyzed, using a field diary; in addition to the use of a non- random sample, creators and/or organizers of these events were interviewed in addition to local traders in the service sector of the cities where the events were held. It was verified that the festivals essentially contribute to the socio-cultural development of municipalities and their respective populations, as well as the audiovisual production of Paraíba, being an important diffusion mechanism for knowledge and publicity for the sector. / Em um cenário nacional e regional efervescente quanto à produção de obras audiovisuais, a Paraíba se destaca não somente pela sua produtividade, mas também pela notoriedade alcançada através dos festivais de cinema realizados no Estado. Atualmente, contabilizando dezessete eventos deste tipo, inúmeras pessoas são atraídas, movimentando não somente a economia local, como também a produção artística e o turismo. Esta pesquisa tem como principal objetivo analisar as relações entre cultura e desenvolvimento a partir dos festivais de cinema do estado; observando ainda: as articulações da Cadeia de Produção Audiovisual Paraibana e investigar os efeitos sociais e econômicos decorrentes da produção cinematográfica no estado. Já que, parte-se da hipótese de que há uma relação de retroalimentação entre cinema e sociedade. Para tanto, utilizou-se o método qualitativo e da entrevista como forma de obtenção de dados para a pesquisa, tendo como base a metodologia dos “estudos de impacto de projetos ou ações culturais”. Isso porque, foram analisadas as atividades dos festivais de cinema realizados no ano de 2015, utilizando-se de um diário de campo; e, ainda, através de uma amostra não-aleatória, foram entrevistados os criadores e/ou organizadores desses eventos; e os comerciantes do setor de serviços das cidades que os recebem. Concluindo que estes festivais contribuem essencialmente com o desenvolvimento sociocultural dos municípios, suas respectivas populações e ainda com a produção audiovisual paraibana como um todo, sendo uma importante ferramenta de difusão de saberes e divulgação do setor.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-03-28T12:34:46Z No. of bitstreams: 2 Tese - Guilherme Mendonça de Souza - 2017.pdf: 55555017 bytes, checksum: 165fd7a1b83a773a5f8f7cb22691f26c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-03-29T11:33:55Z (GMT) No. of bitstreams: 2 Tese - Guilherme Mendonça de Souza - 2017.pdf: 55555017 bytes, checksum: 165fd7a1b83a773a5f8f7cb22691f26c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-29T11:33:55Z (GMT). No. of bitstreams: 2 Tese - Guilherme Mendonça de Souza - 2017.pdf: 55555017 bytes, checksum: 165fd7a1b83a773a5f8f7cb22691f26c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-06-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This exploratory research is based on the contemporary context of the relations between virtual reality and cinema. The thesis seeks to demonstrate how the technological advent influences the forms of communication and artistic manifestations, as well as brings out the emergence of emerging narratives. Immersive cinema (imercine), backed by the traditional cinematic language, suggests adaptations and significant changes in modes of production, exhibition and reception. The artistic project proposes the production of an immersive film (imerfilm) whose plot is inserted in the virtual reality environment. / Essa pesquisa exploratória é embasada no contexto contemporâneo das relações entre realidade virtual e cinema. A tese procura demonstrar como o advento tecnológico influencia nas formas de comunicação e manifestações artísticas, bem como traz à tona o surgimento de narrativas emergentes. O cinema imersivo (imercine), respaldado na linguagem cinematográfica tradicional, sugere adaptações e alterações significativas nos modos de produção, exibição e recepção. O projeto artístico propõe a produção de um filme imersivo (imerfilme) cuja trama se insere no ambiente da realidade virtual.

A presente dissertação se dedica a mapear a organização do trabalho na atual cadeia produtiva do audiovisual na cidade de São Paulo, por meio da análise das atuais formas de produção do cinema e do atual modelo de financiamento do setor, com o objetivo de evidenciar seus principais elos e suas principais vulnerabilidades. Um setor identificado como vulnerável, porém, pouco evidenciado, está localizado no início da cadeia produtiva o desenvolvimento de projetos. Essa etapa, que inicia todo o processo do filme, está muito centrada na figura de um profissional o roteirista. Portanto, esta pesquisa está centrada na identificação da vulnerabilidade desse profissional, em suas relações de trabalho e seus níveis de relacionamento, em sua influência nos outros setores da cadeia produtiva, como também, na atual condição de trabalho que lhe é ofertada. Foram identificadas três questões centrais para justificar a atual vulnerabilidade da profissão de roteirista, que se desmembram em outros apontamentos, são elas: a disputa de autoria entre diretor e escritor no final dos anos 60 (cinema e literatura), as relações flexíveis impostas pelo novo modelo de trabalho apoiado na lógica da intermitência e fragmentação e por último, a falta de organização do profissional de roteiro enquanto categoria. / This thesis aims at drawing a map of the current state of the audiovisual industry productive chain in the city of São Paulo. I shall analyse the current forms of film production and the sector\'s funding model, seeking to outline its most relevant nodes and its main vulnerabilities. One particular aspect that has been identified as vulnerable, while rarely identified, is located at the beginning of the productive chain: project development. This stage, which upstarts the whole film process, is very centered on one sole professional: the writer. Therefore, this research is oriented at the identification of vulnerabilities pertaining to this professional in particular, in their work relations and levels of relationship, in their influence on other sectors of the production chain, as well as in the current working conditions offered to them. Three main questions have been identified, which explain the current vulnerability of the writer profession. These questions are developed into other remarks. The three questions are namely: the dispute surrounding authorship, between director and writer, at the end of the 1960s (cinema and literature); the flexible relations imposed by the new working model supported by the logic of precariousness and fragmentation; and the lack of professional organizations among writers as a social category.

Made available in DSpace on 2016-07-27T13:54:42Z (GMT). No. of bitstreams: 1 Bruno Jorge de Sousa.pdf: 550117 bytes, checksum: 605621208c900f6437e08a0847557f21 (MD5) Previous issue date: 2005-08-26 / The present study deals with the utilization of the Cinema at school. More precisely, this study addresses an important issue that has emerged from former scholar investigation upon the educational application of the Cinema: how do ideological and pedagogical conceptions underlying teachers film selection process interact to affect formal education? The literature review provides the possibility to comprehend the Cinema as an educational agent. After all, a concern with pedagogical use was a controvertible part of the Cinema development from its beginnings. The Cinema, as a mass medium and a belief-system builder, provides experience and knowledge to people, structuring the reality to them. Moreover, the films are very important ideological vehicles or discourse bearer cultural products which use specific mass communication strategies. The Cinema conception as ideological and pedagogical means of disseminating ideas and knowledge is mainly based on the contemporary debate about the educational potentialities of the media. According to that debate, the school should encourage the student to bring out the possibilities of read, interpret and analyse critically the media content and the new communication technologies. That reflection upon pedagogical role of the media leads to the need to investigate how Cinema has been used by the school in its educational practices. This qualitative inquiry was conducted in three stages. In the first stage, a theoretical study was carried out. The main issues studied in that stage were the analysis of school as a space of the formal education practice and the Cinema as a vehicle of pedagogical possibilities expression. That preliminary study took in to account the critical theories originated from both Cinema and Education investigation fields. In the second stage, a field research was conducted in order to examine the pedagogical conditions in which films have been used in the formal education. Four secondary education schools of the city of Goiânia were selected to survey. From those schools, two were private (one laic and one confessional), one was state and the other was federal. The number of students was nearly the same for all schools. At each selected school, two teachers from each secondary education three levels were invited to give an interview. A list of films came from those interviews. A sample was selected from that list in order to compare the content of the films and its ideological conditions to the teachers discourse. In the third stage, the collected data were analysed according to this study theoretical frameworks and guidelines. / A presente investigação teve como objeto de estudo o cinema na escola, delimitandose este a partir dos aspectos ideológicos e pedagógicos observados no processo de seleção de filmes e sua utilização na educação formal. Mais precisamente, pergunta-se, em que concepções pedagógicas e ideológicas o cinema está sendo inserido no processo educativo formal? O trabalho serviu-se da concepção de que a experiência cinematográfica possui a potencialidade para educar o homem. A revisão da literatura oferece perspectivas para que se compreenda o cinema como um agente educativo por este se tratar de uma produção cultural significada, portadora de um discurso posicionado frente à realidade (portanto ideológico), que se vale de estratégias de comunicação específicas para expor conteúdos. Assim, a concepção do cinema como meio pedagógico e ideológico apóia-se no debate contemporâneo sobre as capacidades educativas dos meios de comunicação. Neste debate é solicitado da escola ações que visem a formação de um estudante que seja capaz de ler, interpretar e analisar criticamente as mídias e as novas tecnologias da comunicação. Esta reflexão indica a necessidade de se conhecer como a escola tem utilizado o cinema em suas práticas educativas, que é o objetivo o presente trabalho. Esta pesquisa, de natureza qualitativa, se deu em três etapas. A primeira consistiu em um estudo teórico, caracterizado como pesquisa bibliográfica, que consistiu na análise da escola enquanto local da realização da educação formal e do cinema como veículo de expressão de idéias e de possibilidades pedagógicas. Este estudo se deu através de teorias críticas formuladas no campo do cinema e no campo da educação. Na segunda etapa, foi realizada uma pesquisa de campo que visou apreender em que condições pedagógicas os filmes tem sido utilizados na educação formal. Foram selecionadas quatro escolas, sendo duas escolas públicas, uma federal e outra estadual, e outras duas escolas particulares, uma leiga e outra confessional. Como características em comum estas escolas oferecem o ensino médio, são da cidade de Goiânia e possuem mais ou menos o mesmo número de alunos. Como técnica de coleta de dados foi utilizada a entrevista com dois (2) professores de cada uma das três séries do ensino médio de cada instituição de ensino. Foi selecionada uma amostra de filmes a partir dos títulos utilizados pelos professores colaboradores com finalidade de estabelecer uma análise dessas obras, tendo a intenção de analisar os conteúdos e condições ideológicas desses filmes e compará-los com o discurso dos professores. No terceiro momento da pesquisa, foram realizadas as análises das informações coletas á luz dos estudos realizados e de outros que os próprios dados tornaram necessários.

In The Lord of the Rings: The Fellowship of the Ring, Boromir refers to the lands of Mordor as the place where evil never sleeps. Cinematic evil itself never sleeps, always arising in new forms, to the extent that there exist as many types of evil as there are films. This thesis examines this constantly shifting construction of evil in American popular cinema between 1989 and 2002 - roughly, the period between the fall of the Berlin Wall and the attack on the World Trade Center - and how this cinema engaged with representations of enemies and of evil per se. The thesis uses content and thematic analysis on a sample of the 201 most successful films at the U.S. box office during the period. In these films, cinematic evil is constructed according to a visual aesthetic that attempts to engage with societal values, but fails to do so due to the emphasis on its visual construction and its commodification. As Baudrillard argues, evil has become a hollow concept devoid of meaning, and this is especially so for cinematic evil. It is recognised, and is recognisable, by the visual excessiveness of its violence (or potentiality for violence), and by certain codes that are created in reference to intertextual patterns and in relationship to discourses of paranoia and malaise. But cinema in this period failed to engage with the concept of evil itself in any meaningful way. Cinematic evil mirrors the descent into the chaos and disorder of a postmodern society. All cinematic evil can do is to connect with this sense of unease in which the 'reality of evil' cannot be represented. Instead, it draws on earlier icons and narratives of evil in a conflation of narrative and spectacle that produces a cinema of nostalgia. Moreover, stripped of narrative causality, these films express a belief, unproved and unprovable, that evil things and evil people may arise in any form, in any place and at any time: a cinema of paranoia. Together, these factors produce a cinema of malaise, perpetually confronting an evil it is unable to define or locate.

Today's processes of cultural globalization involve three major trends: (I)the global expansion of transnational communications conglomerates; (2) the global implementation of market-oriented cultural policies; and (3) the global diffusion of new communication technologies. These processes have set in motion complicated consequencesa nd prompted a range of national responses.B oth China and Taiwan, the two locations which embody the Asian region's largest cultural formation, have experienced major shifis in their internal political and economic organisation and been significantly influenced by these interlinked global processes since the early 1980s. Taking the national film industries in both locations as a case study, this thesis examines the impact of globalisation on the organisation of national cultural production and distribution, and explores the uses of film in representing shifting conceptions of national culture and identity.

AN ABSTRACT OF THE DISSERTATION OF KWANG WOO NOH, for the Doctor of Philosophy degree in Mass Communication and Media Arts, presented on August 25, 2009, at Southern Illinois University at Carbondale. TITLE: MEMORIES OF RAPID TRANSFORMATION: RETROSPECTION AND NOSTALGIA IN CONTEMPORARY SOUTH KOREAN CINEMA MAJOR PROFESSOR: Deborah Tudor, Ph.D. The recent tendency of returning to history in Korean cinema corresponds with the conjuncture of democratization and globalization from 1992, which is an antithesis of the former conjuncture: modernization and military dictatorship from 1961 to 1992. Through the rapid economic development, Korea's economy reached its apex in the mid 1990s. However, Asian economic crisis of 1997 - 1998 accelerated the economic decline. The democratization and the economic crisis provided Korean filmmakers with a motivation to re-examine the past. The research contained herein will focus on these Korean reexaminations of the past. With regard to this re-examination, Korean cinema employed two main trends. Some films refer to historical and political moments, and suggest a relationship between such moments and Korean destiny. Other films deal with personal stories from the 1960s to 1990s. Both trends provide not only retrospection of the rapid transformation but also nostalgia for the past despite differences of subject matters and genre. Film studies pertinent to the subject include political criticism in U.S. film studies of ideology, historians' and film scholars' approaches to film representation of the history and the past, as well as New German cinema and post-Franco Spanish cinema. Methodology will incorporate textual analysis, followed by an examination of four films in retrospective trend, as well as four films in the nostalgic trend. For the purpose of analysis, eight films, released from 2000 to 2007, are examined. In terms of subject matter, all films are connected to Korea from the 1960 to the 1990s. In the first trend of films of historical reference, four films will be examined: The President's Barber(Im Chan-sang, 2004), The President's Last Bang (Im Sang-soo, 2004), Peppermint Candy (Lee Chang-dong, 2000), and Memories of Murder (Bong Joon-ho, 2003). The President's Barber covers the era from the last days of Rhee Syng-man regime through the Student Revolution of April 19, 1960, through the military coup on May 16, in 1961, to the assassination of Park Chung-hee on October 26, 1979, through the life of a fictional barber who served the president. The President's Last Bang (Im Sang-soo, 2004) dramatizes the assassination of Park Chung-hee. With its reverse chronological narrative progress, Peppermint Candy (Lee Chang-dong, 2000) traces how the Kwangju massacre of May 1980 influenced Korean society. Finally Memories of Murder (Bong Joon-ho, 2003) treats the expansion of capitalism during the 1980s within the form of mystery and thriller film. Four films that tell personal stories are chosen: The Classic (Kwak Jae-yong, 2003), My Mother the Mermaid (Park Heung-Shik, 2004), Once Upon A Time in A High school: The Spirit of Jeet Kune Do (Yu Ha, 2003) and Friend (Kwak Kyung-taek, 2001). All but My Mother the Mermaid adopt the form of "high teen film" for their genre conventions. Once Upon A Time in A High School: The Spirit of Jeet Kune Do (Yu ha, 2003) is a coming-of-age film set in a high school located in Kangnam, a newly developed periphery of Seoul in the late 1970s. The Classic and Friend compare adolescence and maturity by putting episodes from main characters' high school days in the middle of storyline. Whether they are set in a remote island or a high school in an urban area, these films depict not only the bitterness and poignancy of growing up but also show diverse aspects of, or responses to, the rapid socio-economic transformation of South Korea.

Submitted by Lucas Catalan (lucatalan@hotmail.com) on 2017-07-24T13:24:03Z No. of bitstreams: 1 Dissertação - VERSÃO FINAL Final.pdf: 2294395 bytes, checksum: 3f76cf0301a2cf7c9859e21b57ac11c6 (MD5) / Approved for entry into archive by Hozana Azevedo (hazevedo@ufba.br) on 2017-08-10T14:22:11Z (GMT) No. of bitstreams: 1 Dissertação - VERSÃO FINAL Final.pdf: 2294395 bytes, checksum: 3f76cf0301a2cf7c9859e21b57ac11c6 (MD5) / Made available in DSpace on 2017-08-10T14:22:11Z (GMT). No. of bitstreams: 1 Dissertação - VERSÃO FINAL Final.pdf: 2294395 bytes, checksum: 3f76cf0301a2cf7c9859e21b57ac11c6 (MD5) / Capes / Este trabalho tem como objetivo analisar a representação das lutas sociais no movimento das fábricas recuperadas argentinas, percebendo as dificuldades, resistência e conteúdos utópicos presentes nas películas. Esta experiência de resistência da classe trabalhadora se insere no contexto de forte crise econômica do país do final dos anos 1990 e inicio dos anos 2000, marcada por perdas bruscas de postos de trabalho. As fábricas recuperadas foram a saída encontrada por alguns para se manterem trabalhando e vivendo dignamente. São estudados, através da metodologia da decupagem, dois filmes documentários: Mate y Arcilla (2003), dos grupos Ak Kraak e Alavío, representando a luta dos trabalhadores da Zanon; e Brukman Bajo Control Obrero (2003), de Carlos Pronzato, representando o cotidiano das trabalhadoras da fábrica têxtil Brukman. Nestas obras percebemos a reconstrução dos períodos turbulentos das tomadas e ocupações das fábricas, em especial o cotidiano dos trabalhadores na construção de uma nova forma de organização do trabalho, pautada na autogestão. / This work aims to analyze the representation of social struggles in the Argentine movement of recovered factories, perceiving the difficulties, resistance, and utopian contents present in the films. This experience of resistance of the working class was inserted in the context of a strong economic crisis in the country with sudden losses of jobs.The recovered factories were the solution found by some of these workers to keep working and living in dignity. Two documentary films were studied through the methodology of decoupage: Mate y Arcilla (2003), made by the groups Ak Kraak and Alavío, representing the struggle of the workers at Zanon factory; and Brukman Bajo Controle Obrero (2003), by Carlos Pronzato, representing the daily life of the workers of the Brukman textile factory. In these documentaries we see the reconstruction of the turbulent periods of the factory occupations, especially the daily life of this workers, who seek the construction of a new form of work organization, based on selfmanagement.

Submitted by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-07-31T18:22:48Z No. of bitstreams: 1 Dissertação - Lucas catalan.pdf: 2018112 bytes, checksum: cc0d3288af550b6c546832f9e040f346 (MD5) / Approved for entry into archive by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-07-31T18:28:25Z (GMT) No. of bitstreams: 1 Dissertação - Lucas catalan.pdf: 2018112 bytes, checksum: cc0d3288af550b6c546832f9e040f346 (MD5) / Made available in DSpace on 2017-07-31T18:28:25Z (GMT). No. of bitstreams: 1 Dissertação - Lucas catalan.pdf: 2018112 bytes, checksum: cc0d3288af550b6c546832f9e040f346 (MD5) / Este trabalho tem como objetivo analisar a representação das lutas sociais no movimento das fábricas recuperadas argentinas, percebendo as dificuldades, resistência e conteúdos utópicos presentes nas películas. Esta experiência de resistência da classe trabalhada se insere no contexto de forte crise econômica do país, perdas bruscas de postos de trabalho. As fábricas recuperadas foram a saída encontrada por alguns para se manterem trabalhando e vivendo dignamente. São estudados, através da metodologia da decupagem, dois filmes documentários: Mate y Arcilla (2003), dos grupos Ak Kraak e Alavío, representando a luta dos trabalhadores da Zanon; e Brukman Bajo Control Obrero (2003), de Carlos Pronzato, representando o cotidiano das trabalhadoras da fábrica têxtil Brukman. Nestas obras percebemos a reconstrução dos períodos turbulentos das tomadas e ocupações das fábricas, em especial o cotidiano dos trabalhadores na construção de uma nova forma de organização do trabalho, pautada na autogestão. / This work aims to analyze the representation of social struggles in the Argentine movement of recovered factories, perceiving the difficulties, resistance, and utopian contents present in the films. This experience of resistance of the working class was inserted in the context of a strong economic crisis in the country with sudden losses of jobs.The recovered factories were the solution found by some of these workers to keep working and living in dignity. Two documentary films were studied through the methodology of decoupage: Mate y Arcilla (2003), made by the groups Ak Kraak and Alavío, representing the struggle of the workers at Zanon factory; and Brukman Bajo Controle Obrero (2003), by Carlos Pronzato, representing the daily life of the workers of the Brukman textile factory. In these documentaries we see the reconstruction of the turbulent periods of the factory occupations, especially the daily life of this workers, who seek the construction of a new form of work organization, based on selfmanagement.