Made available in DSpace on 2016-04-28T19:59:13Z (GMT). No. of bitstreams: 1 Carlos Eduardo Siqueira Ferreira de Souza.pdf: 1642585 bytes, checksum: 913d09f1c598648bdb032fedee52c11e (MD5) Previous issue date: 2008-10-22 / The main objective of this research is to examine, in the writings of Ana Cristina Cesar, the relationships between the texture of her autobiographical discourse and the cinematic editing method, with particular attention to the texts comprised in A teus pés, published in 1982. Such objective was chosen in view of the fact that Ana Cristina Cesar s poetic work reveals composition methods of a singular late 20th century lyrical voice, marked by a fragmentary language, analogous with the cinematic technique of frames juxtaposition and the procedures that account for autobiographical and confessional texts. In order to understand how this woman poet appropriates an autobiographical discourse and transforms it, and whether the cinematic language takes part in the autobiographical construction process of Ana Cristina s poetry through the organization of fragments in the text, we start from the following hypotheses: autobiographism is a lyrical and fictional method in Ana Cristina s fragmentary poetry; cinematic editing provides solutions to the contiguity of analogical images in her poetic writing; fragmentarism is the procedure that brings together the cinematic and the autobiographical discourse. Such hypotheses were tested in the light of: Bakhtin s reflections in Aesthetics of Verbal Creation, which deal with confessional and autobiographical genres; the concept of biographeme as proposed by Roland Barthes; and the cinematic editing studies carried out by theoreticians and scholars such as Sergei Eisenstein, Ismail Xavier, Peter Burger and Modesto Carone Netto. We conclude that Ana Cristina Cesar brings together the depragmatizing, self-reflexive tendency of modern art and the disillusioned, faithless attitude of our contemporary age, by deconstructing in her writings the concepts of identity and authorship, in an attempt to depersonalize the self. In the texts written by this woman poet from Rio de Janeiro, the biographeme is apprehended as a fragmentary and non-linear composition method which, together with the frames juxtaposition procedure that constitutes cinematic editing, results in a unique relationship between reality and fiction, achieved by means of an erotic texture in which a reality that emerges and disappears from the text is displayed. Bringing forth a dramatic interplay in which the poetic persona takes to the stage and displays its multiplicity to the reader, Ana Cristina Cesar s writing reveals that the theatralization of the self on the textual stage is an alternative to the invention of a creative and liberating identity / O principal objetivo desta pesquisa é examinar, na escritura de Ana Cristina Cesar, em especial nos textos que compõem A teus pés, editado em 1982, as relações entre a tessitura do discurso autobiográfico e o método de montagem cinematográfica. Tal objetivo foi traçado, considerando-se que a obra poética de Ana Cristina Cesar revela, como métodos de composição de uma voz lírica singular do final do século XX, a linguagem fragmentária, análoga à técnica cinematográfica de justaposição de planos, e os procedimentos constituintes de textos autobiográficos e confessionais. A fim de compreendermos como a poeta se apropria do discurso autobiográfico, transformando-o, e se a linguagem cinematográfica participa, por meio da organização de fragmentos no texto, do processo de construção do autobiografismo na poesia de Ana C., partimos das seguintes hipóteses: o autobiografismo é um método lírico ficcional na poesia fragmentada de Ana Cristina Cesar; a montagem cinematográfica fornece soluções para a contigüidade das imagens analógicas na escritura poética; o fragmentarismo é um procedimento que alia os discursos cinematográfico e autobiográfico. Tais hipóteses foram testadas à luz: das reflexões elaboradas por Bakhtin, em Estética da criação verbal, sobre os gêneros confessionais e a autobiografia; do conceito de biografema proposto por Roland Barthes; e de estudos sobre a montagem cinematográfica, realizados por teóricos e estudiosos como Sergei Eisenstein, Ismail Xavier, Peter Bürger e Modesto Carone Netto. Concluímos que Ana Cristina Cesar alia a tendência despragmatizante e auto-reflexiva da arte moderna à postura descrente e desiludida da contemporaneidade, desconstruindo, em sua escritura, as noções de identidade e de autoria, numa tentativa de despersonalização do sujeito. Nos textos da poeta carioca, o biografema é apreendido como um método de composição fragmentada e alinear, que, aliado ao procedimento de justaposição de planos que constitui a montagem cinematográfica, constrói uma relação singular entre real e ficção mediante uma tessitura erótica, na qual se estabelece a encenação de uma realidade que aparece e desaparece do texto. Instauradora de um jogo dramático em que o sujeito poético encena sua multiplicidade para o leitor, a escritura de Ana Cristina Cesar revela que a teatralização do eu no palco textual é uma alternativa para a invenção de uma identidade criativa e libertadora

This thesis focuses on the challenges in production to create a live-action cinematic virtual reality film that aims to trigger a certain emotional response in the viewer. Cinematic virtual reality (CVR) is the term referred to throughout this thesis that has been used by Mateer (2017) in his paper. However, the definition of CVR will differ to some extent from Mateers ́ (2017) and reasons for it will be provided. Firstly, the techniques employed in the production of the cinematic virtual reality film that may elicit an emotional response and character engagement are taken from the theory of cognition and emotion in film by Smith, M. (1995) Engaging Characters: Fiction, Emotion and Cinema and David Bordwell ́s Narration and the Fiction Film (1985). The theoretical framework has been applied to an analysis of a Pixar-style animated CVR film called Invasion! (2016) in order to extract guiding principles that have informed the making of my own CVR film. The importance of creating presence through immersion is highlighted as necessary in sustaining engagement and evoking emotions (Ding et al., 2018). An emotional response of entrapment, fear, insecurity and wonder is desired to be elicited by watching my CVR film. As well, emotional engagement with the character in the CVR film is aimed for to enhance the emotional response. Sound and visual cues are used that may serve to facilitate directing the viewer through the story as mentioned by Mateer (2017). Techniques identified that may create an emotional response are direct address, spatial proximity and orientation. The production of my CVR film has been informed by these techniques, however, challenges in production may have weakened the outcome such as the difficulties in monitoring the shoot resulting in problems adjusting lighting, directing the actress and avoiding object distortion on stitching lines. Furthermore, on set sound recording has been a major challenge. My CVR film is evaluated according to these challenges and possible solutions for improvement are offered. Cinematic Virtual Reality is a medium that offers new ways for storytelling and experiences. My CVR film places the viewer in the imaginary position of a fairy thus offering a perspective of the world and connected emotions that go beyond the possible experiences in everyday life. The aim is to contribute to a deepened understanding of cinematic virtual reality filmmaking by presenting some of the techniques and production challenges of creating an emotionally compelling CVR film experience.

A dissertação Vidas secas, do livro ao filme se propõe a fazer um estudo da estrutura e da questão narrativa das obras Vidas secas, livro de Graciliano Ramos e do filme homônimo de Nelson Pereira dos Santos, levando-se em consideração as diferenças entre os dois meios, os fenômenos decorrentes da adaptação, as circunstâncias de produção e a distância temporal entre as duas obras. A adaptação é mais uma questão de diálogo e admiração do que de diferenças fundamentais entre os autores. Mais do que ser apenas a adaptação de uma obra-prima da literatura nacional, a leitura cinematográfica que Nelson Pereira dos Santos fez de Vidas secas de Graciliano Ramos quis também ser uma intervenção na conjuntura política contemporânea, nesse caso como parte do debate então vigente sobre a reforma agrária e a estrutura social brasileira na década de 1960. O que pretendemos com esta dissertação é, valendo-se de diversos embasamentos teóricos ligados aos Estudos Comparados e à Literatura Comparada, chegar a uma leitura analítica focada na compreensão da construção das duas formas narrativas de Vidas secas: romance (livro / narrativa original / linguagem literária) e filme (produto final de uma releitura audiovisual / linguagem cinematográfica / The dissertation Barren Lives, from book to film aims to comparatively study the structure and the issue of narration in Graciliano Ramoss book Vidas secas and in Nelson Pereira dos Santos film Vidas secas, taking into consideration the differences between literature and film, the patterns created by the process of adaptation, the circumstances within which the two works were produced and the temporal lap between the two pieces. Adapting a book into film is, in our opinion, much more a matter of admiration and dialogue than of establishing differences between one piece of work and the other. More than an adaptation of one of the Brazilian contemporary literatures masterpieces into film, the cinematic reading of Vidas secas made by Nelson Pereira dos Santos also aimed to intervene in its contemporary Brazilian political life, especially in the debate concerning the land ownership and the Brazilian social structure in the 1960s. In this dissertation, our aim is to build up an analytical reading of these two works, based on some concepts from Comparative Studies and Comparative Literature, trying to better understand the two pieces different structures, the books original literary narrative and the films cinematic narrative, considering the latter a result of an audiovisual comprehension and re-creation of the first.

Modernitet och intermedialitet is the first major study of the Swedish modernist writer Erik Asklund (1908-1980) and his works. The thesis consists of an introductory chapter and three close readings of Asklund’s early novels Kvinnan är stor (The Woman is Great, 1931), Lilla land (A Small Country, 1933), and Fanfar med fem trumpeter (A Fanfare with Five Trumpets, 1934). In these novels, Asklund depicts modernity in Sweden in the 1930’s. Exploring the modernity of the 1930’s in Asklund’s novels, especially the contemporary media situation turns out to be one of the most important aspects. Asklund wrote stories about film, music and various forms of visual culture, (photography, for instance). These different forms of art and media play an important role for Asklund’s writings, not only thematically, but also narationally. In my analyses, I put forward different theoretical aspects of intermediality. In this context, the ideas of Werner Wolf have been especially useful to my examinations of the intermedial aspects in Asklund’s works. In the novel Kvinnan är stor, Asklund tells the story about the young woman Lydia, who moves from the countryside to the big city of Stockholm. She then learns to decode the modern urban society, and becomes a modern woman. In Kvinnan är stor, intermediality is expressed mainly through various connections to film and photography. The modernization of Sweden in the early 20th century was much a question of the countryside becoming modern. In Lilla land, Asklund depicts this process. The novel is one of the first works ever focusing the forming of the Swedish welfare state project. The story is told in a cinematic or filmical way. The third novel to be analysed in the thesis is Fanfar med fem trumpeter. This is one of the first Swedish jazz novels. Asklund tells the story about five young unemployed men in Stockholm who form a jazz orchestra, and make a career. The novels characters experience everyday life as “medialized”; they compare reality with music, film, and photography. These novels, as well as all Asklund’s writings from the 1930’s, are important contributions to the “story about Sweden becoming a modern country”. This “story” consists of the novels, short stories and poems written in the early decades of the 20th century in Sweden.

Las relaciones existentes entre el cinematógrafo y las artes plásticas durante las primeras décadas del siglo XX son una de las señas de identidad de un período artístico protagonizado por los movimientos vanguardistas. En efecto, fotografía y cine se unen a pintura y escultura en el maremagno de creatividad y experimentación que vivió el arte al calor de las vanguardias históricas. Pese a ser numerosas y evidentes las influencias que el cine recibió de las artes plásticas en esas primeras décadas del siglo, lo que se quiere abordar en esta investigación no es esta vinculación sino, precisamente, su inversa. De lo que se trata, pues, es de investigar, evidenciar y explicar las influencias del medio cinematográfico en las artes plásticas, a nivel formal, expresivo o iconográfico, influencias que, como es lógico, resultan especialmente significativas en la pintura. / The existing relations between the cinematograph and the plastic arts during the first decades of the 20th century are one of the identity signs of an artistic period led by the avant-garde movements. In fact, photography and cinema join painting and sculpture in the maremagnum of creativity and experimentation that art lived with the historical avant-garde. In spite of the fact that the influences that cinema received from plastic arts in these first decades of the century are numerous and evident, what must be faced in this investigation is not this link but, precisely, his opposite. What we are dealing with, thus, is investigating, demonstrating and explaining the influences of the cinematographic means in the plastic arts, at a formal, expressive or iconographic level, influences that, naturally, turn out to be specially significant on painting.

Ce mémoire de maîtrise porte sur cinq films de fiction de Jean-Pierre et Luc Dardenne : La promesse (1996), Rosetta (1999), Le fils (2002), L’enfant (2005) et Le silence de Lorna (2008). L’objectif de cette recherche est d’analyser la problématique du « réel » à travers ces cinq cas filmiques, en défendant l’idée que le réel, à défaut de pouvoir être représenté (Jacques Lacan), est visé – et exprimé – par l’appareillage cinématographique des Dardenne. Dans le premier chapitre, nous déterminons en quoi le cinéma de Jean-Pierre et Luc Dardenne opère une nouvelle fictionnalité qui brouille les limites entre le document et la fiction. Dans le deuxième chapitre, nous situons l’approche des Frères dans la modernité cinématographique et nous analysons les enjeux esthétiques qui, au sein de leur cinéma, « posent le problème du réel ». Enfin, le troisième chapitre est entièrement dédié à l’acteur dardennien qui, par sa méthode, son jeu et ses postures, provoque l’expression du réel. / This master's thesis focuses on five fiction films directed by Jean-Pierre and Luc Dardenne: La promesse (1996), Rosetta (1999), Le fils (2002), L’enfant (2005) and Le silence de Lorna (2008). This research aims to analyze the problem of “the real” through these five films, arguing that although the real can’t be represented (Jacques Lacan), it can be targeted — and expressed — through the cinematic apparatus of the Dardenne. In the first chapter, we explain how the films of Jean-Pierre and Luc Dardenne deploy a new fictionality that blurs the boundaries between document and fiction. In the second chapter, we place the Dardenne’s approach in the context of modern cinema and analyze the aesthetic aspects that set out the problem of the real in their cinema. The third chapter is dedicated to the Dardennian actor, a proper "body character" (Gilles Deleuze), who also participates in the expression of the non obvious character of the real.

This thesis examines the growing trend of cinematisation in computer and console games, where both visual styles and industrial practices are concerned. The ever-increasing runtime of cinematic cutscenes in games, and the stylization of game graphics in accordance with established film genres are of primary focus regarding the gaming industry's absorption and interpretation of cinematic visuals. Comparisons of film-game convergence are based on the proliferation of non-gameplay promotional trailers and their role in hype-generation; as well as game producer strategies of franchising, cross-promotion, and initial-sales business model. Comparison is thus accomplished with regards to a number of fundamental similarities in both industries' business and commercial tactics, as stemming from the risk and reward-based investment financing system prevalent in both industries. Finally, a selection of user and industry professional video responses to the aforementioned trends are examined, both for their value in counter-balancing the assumptions of success which often follow staggeringly high initial sales figures; and for their value in layering the depth of film-game convergence even further, as they respond to the recent, filmic trends in games using the very language of film.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research called Snapshots Fragments; a study of Bergsonian cinematographic mechanism in the Marcel Duchamp´s painting Nude Descending a Staircase, is based in arts and reflections in which paint is performed a study of the cinematic mechanism concept from the philosopher, Henri Bergson. The research starts from the questions about wich intersection point can exist between an art work and a philosophical concept, that were deeply relevant and fruitful in modernity with contemporary developments in both discussions: arts and philosophy. In other words, this work was done intending to find similarities and differences between Duchamp\'s painting and Bergson´s concept. The research was developed aiming to enable the dialogue establishment between art and philosophy, given through an element that would be the embrace of both: the movie. / A pesquisa intitulada Fragmentos instantâneos, um estudo do mecanismo cinematográfico bergsoniano na pintura Nu descendo uma escada de Marcel Duchamp, trata-se de uma pesquisa em fundamentos e reflexões em artes, no qual são realizados estudos da pintura Nu descendo uma escada , de Marcel Duchamp, e do conceito de mecanismo cinematográfico, do filósofo Henri Bergson. A pesquisa inicia-se a partir dos questionamentos sobre a possibilidade de haver um ponto de intersecção entre um trabalho em arte e um conceito filosófico, os quais foram profundamente relevantes na modernidade e profícuos de desdobramentos na contemporaneidade e, nas discussões tanto no campo das artes, quanto na filosofia. Em outras palavras este trabalho foi realizado objetivando-se verificar em quais aspectos há convergências e divergências entre a pintura de Duchamp e o conceito de Bergson. A pesquisa foi realizada visando possibilitar a instauração de um diálogo entre arte e filosofia, dado através de um elemento que seria o amplexo de ambos, o cinema. / Mestre em Artes

A dissertação Vidas secas, do livro ao filme se propõe a fazer um estudo da estrutura e da questão narrativa das obras Vidas secas, livro de Graciliano Ramos e do filme homônimo de Nelson Pereira dos Santos, levando-se em consideração as diferenças entre os dois meios, os fenômenos decorrentes da adaptação, as circunstâncias de produção e a distância temporal entre as duas obras. A adaptação é mais uma questão de diálogo e admiração do que de diferenças fundamentais entre os autores. Mais do que ser apenas a adaptação de uma obra-prima da literatura nacional, a leitura cinematográfica que Nelson Pereira dos Santos fez de Vidas secas de Graciliano Ramos quis também ser uma intervenção na conjuntura política contemporânea, nesse caso como parte do debate então vigente sobre a reforma agrária e a estrutura social brasileira na década de 1960. O que pretendemos com esta dissertação é, valendo-se de diversos embasamentos teóricos ligados aos Estudos Comparados e à Literatura Comparada, chegar a uma leitura analítica focada na compreensão da construção das duas formas narrativas de Vidas secas: romance (livro / narrativa original / linguagem literária) e filme (produto final de uma releitura audiovisual / linguagem cinematográfica / The dissertation Barren Lives, from book to film aims to comparatively study the structure and the issue of narration in Graciliano Ramoss book Vidas secas and in Nelson Pereira dos Santos film Vidas secas, taking into consideration the differences between literature and film, the patterns created by the process of adaptation, the circumstances within which the two works were produced and the temporal lap between the two pieces. Adapting a book into film is, in our opinion, much more a matter of admiration and dialogue than of establishing differences between one piece of work and the other. More than an adaptation of one of the Brazilian contemporary literatures masterpieces into film, the cinematic reading of Vidas secas made by Nelson Pereira dos Santos also aimed to intervene in its contemporary Brazilian political life, especially in the debate concerning the land ownership and the Brazilian social structure in the 1960s. In this dissertation, our aim is to build up an analytical reading of these two works, based on some concepts from Comparative Studies and Comparative Literature, trying to better understand the two pieces different structures, the books original literary narrative and the films cinematic narrative, considering the latter a result of an audiovisual comprehension and re-creation of the first.

Ce mémoire en recherche-création comporte deux volets. Le premier volet, théorique, se penche sur les gestes de fictionnalisation intérieurs au cinéma documentaire, et notamment au cœur des symphonies urbaines L’homme à la caméra (1929) de Dziga Vertov et Amsterdam Global Village (1996) de Johan van der Keuken. Le deuxième volet, pratique, consiste en une symphonie de la ville de Montréal, YT Remix, qui se présente comme une forme particulière d’ekphrasis de l’image du monde créée par Yves Thériault dans ses romans. Les plus fréquentes définitions du documentaire indiquent le caractère non fictionnel de ce genre cinématographique, l’absence des comédiens professionnels et la présentation des événements réels. Ce sont, en essence, les principes énoncés par John Grierson en 1932, dans First Principles of Documentary. En pratique, on constate que la majorité des grandes œuvres documentaires font preuve de la précarité des limites entre la documentation du réel et sa fictionnalisation. Comme le fait remarquer Jean-Luc Godard, « Tous les grands films de fiction tendent au documentaire, comme tous les grands documentaires tendent à la fiction » (1985, p. 14). C’est le recours à la fictionnalité révélatrice de la vérité qui est évoqué à la fin du (faux) documentaire F for Fake (1975). En citant Picasso, Orson Welles conclut : « L'art est un mensonge qui nous fait comprendre la vérité ». Johan van der Keuken, le cinéaste qui nous a influencés le plus dans le choix de notre stratégie de création et à qui nous consacrons un chapitre de notre mémoire de maîtrise, a abordé lui aussi la question de la pureté des genres cinématographiques. Dans un entretien pour les Cahiers du cinéma de 1978, en évoquant l’opposition entre documentaire et fiction comme l’un des grands pièges auxquels il se heurtait au moment de l’inscription de ses films aux festivals, le réalisateur hollandais a affirmé que « tout film consciemment travaillé au niveau de la forme est un film de fiction » (Daney et Fargier 1978, p. 19). Ainsi, l’une des questions directrices de notre recherche-création est celle de la justesse d’une définition, assez réductionniste, qui exclut toutes les traces de la fictionnalité dans le documentaire. / This master’s study in research-creation is twofold. The first part, theoretical, refers to internal forms of fictionalization in documentary cinema, including the city symphonies Man with a Movie Camera (1929) by Dziga Vertov and Amsterdam Global Village (1996) by Johan van der Keuken. The second part, practical, is a Montreal city symphony, YT Remix, conceived as a special form of ekphrasis of the image of the world created by Yves Thériault in his novels. The most common documentary definitions indicate the non-fictional character of this cinematic genre, the absence of professional actors and the presentation of real events. These are, in essence, the principles enunciated by John Grierson in 1932, in First Principles of Documentary. In practice, we find that most major documentary works demonstrate the precarious boundaries between fiction and documentation of the real. As noted by Jean-Luc Godard, "All great fiction films tend towards the documentary just as all great documentaries tend toward fiction" (1985, p. 14). The possibility of fiction to reveal the truth is evoked at the end of the (fake) documentary F for Fake (1975). Quoting Picasso, Orson Welles concludes: "Art is a lie that makes us realize the truth." Johan van der Keuken, the filmmaker who has influenced us the most in the choice of our creation strategy (and to whom we devote a chapter in our master's thesis), has also addressed the question of the purity of cinematic genres. In an interview for the Cahiers du cinéma (1978), he considered the opposition between documentary and fiction as one of the biggest challenges he faced during film festivals registrations. In the same interview, the Dutch director stated that "every movie with a consciously elaborated form is, in fact, fiction" (Daney and Fargier 1978, p. 19). Thus, one of the leading questions in conducting our research-creation is about the accuracy of definition, rather reductionist, which excludes all fiction traces in documentaries.