La présente thèse s’organise comme une étude du cinéma brésilien contemporain visant à mettre en évidence la constitution des regards féminins. Cette étude s’appuie sur l’analyse filmique pour circonscrire un modèle esthétique en opposition au regard dominant qui structure la majorité de la production cinématographique. Il propose une perspective distincte de la théorie féministe classique, moins focalisée sur des paires d'opposés historiquement consacrées (masculin versus féminin), et qui se concentre davantage sur ce que les films offrent comme indices d’une organisation symbolique. L’ambition est de déceler la constitution d’un regard féminin cinématographique, et de décrire les traits structurels de ceux-ci. / The present thesis is a study of contemporary Brazilian cinema focused on the constitution of female gazes. This study is based on film analysis and aims to describe an aesthetic model in opposition to the dominant (male) gaze that structures the majority of film production. It develops a perspective that distinguishes itself from classical feminist theory, by means of a shift in focus from the historically consecrated pair of opposites (masculine versus feminine) to an emphasis on what films offer as indications pointing to new symbolic structures. Its goal is to shed light on the constitution of a cinematic female gaze, and to describe the structural lines that define it.

Submitted by ROGÉRIO CORRÊA DA SILVA null (rogercor54@gmail.com) on 2016-12-14T15:20:52Z No. of bitstreams: 1 Rogério Corrêa da Silva Mestrado versão final.pdf: 22222088 bytes, checksum: 579c0f0bf11b904702c593a12d8bcbc5 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-20T15:10:39Z (GMT) No. of bitstreams: 1 silva_rc_me_ia.pdf: 22222088 bytes, checksum: 579c0f0bf11b904702c593a12d8bcbc5 (MD5) / Made available in DSpace on 2016-12-20T15:10:39Z (GMT). No. of bitstreams: 1 silva_rc_me_ia.pdf: 22222088 bytes, checksum: 579c0f0bf11b904702c593a12d8bcbc5 (MD5) Previous issue date: 2016-12-02 / O presente relatório teve como objetivo fazer uma reflexão sobre o meu trabalho de cineasta, tendo como referência as escolas cinematográficas que me inspiraram: Neo-realismo italiano e Cinema Novo brasileiro. Com uma carreira iniciada aos 15 anos de idade, na bitola Super 8, e desenvolvida profissionalmente a partir do curso de Cinema da Escola de Comunicações e Artes da USP, analisei os processos e procedimentos artísticos de meus filmes, como forma de dar um testemunho sobre quarenta e sete anos de atividade, com a finalidade de oferecer uma pequena contribuição ao estudo da história do cinema brasileiro. / This report aimed to reflect on my filmmaker's work, with reference to the film schools that inspired me: Italian Neo-Realism and Brazilian Cinema Novo. With a career started at the age of 15, the gauge Super 8, and developed professionally from the course Film School of Communications and Arts at USP, I analyzed the processes and artistic procedures of my films, as away to give testimony over forty-seven years of activity, in order to offer a small contribution to the study of the history of Brazilian cinema.

A presente pesquisa analisa três filmes do diretor norte-americano Gus Van Sant: Elefante (2003), Últimos dias (2005) e Paranoid Park (2007). Esses três filmes, muitas vezes pensados como uma trilogia, não se igualam apenas no campo estético, mas também em sua proposta política, já que os três apresentam fatos sociais e acontecimentos (mais próximos à esfera do jornalismo). Assim, a pesquisa desenvolve sua argumentação tendo como ponto de partida a realidade concreta e os modos de construção de suas possíveis representações. Não se trata, nesse caso, precisamente de um tipo de realismo enquanto gênero, mas, sobretudo, um modo realista imbricado na forma ficcional dos filmes em função das questões políticas e de sociabilidade que eles suscitam. A pesquisa aborda, dessa forma, três pontos a partir dos quais pensar o cinema contemporâneo, apontando algumas de suas escolhas no campo da visibilidade e em sua política. No trabalho, são três as dimensões do olhar que se colocam a partir do discurso cinematográfico: 1. o olhar do autor, que intenciona uma enunciação; 2. o olhar da cena e a performatividade das imagens, que tensionam o lugar de intenção da autoria; 3. o olhar da cena social, que encontra o lugar político das imagens e do espectador em relação à circulação delas. A esse processo foi dado o nome de dialética do olhar, pois ele constrói a todo instante os espaços de alteridade, ou do Mesmo e do Outro, na imagem. / This research analysis three films directed by Gus Van Sant, from United States, were selected: Elephant (2003), Last Days (2005) and Paranoid Park (2007) These three movies, often studied as a trilogy, are not only connected by a common aesthetical field, but also in its propositional politics, since the three movies present social facts and events (more like how events are brought up in the field of journalism). Therefore, the research considers as its starting point the factual reality and the construction of its possible representations. We are not specifically talking about Realism, as it\'s approached as a gender, but, most of all, according to the political questions and sociability evoked by our object. This research aims to point three parameters in order to discuss the contemporary cinema and its option into the political and visibility\'s fields. We\'re focused in three dimensions of the gaze posed considering the cinematographic discourse: 1) the author\'s gaze, that aims to create a tendency in an enunciation, 2. the scene\'s gaze and the images\' performativity, that stress the position of the authorship\'s intentionality; 3. the gaze of the social scene, that meets the images\' political position, from the spectator to its circulation. This process was named as gaze dialectic, since it is capable of constructing at every moment spaces of alterity, or, Itself and the Other in the image.

Depuis la fin des années 1990, un certain courant du cinéma américain indépendant s'est développé à travers l'instauration d'une nouvelle communauté culturelle (jeune, intellectuelle, 'branchée'), d'où a découlé la constitution d'un nouveau public-niche à l'image de cette communauté ; mais également à travers l'invention d'une nouvelle imagerie, d'une nouvelle esthétique et de nouveaux modes de narration. notre hypothèse de travail est la suivante : le cinéma indépendant américain contemporain est devenu 'à la mode' et se prétend être la seule alternative sincère et indépendante du marché du cinéma plus grand public. il s'est constitué depuis les années 1990 jusqu'à aujourd'hui comme une véritable catégorie culturelle qui affiche son caractère d'opposition à un style commercial dominant. or les films indépendants américains sont devenus des produits culturels, tout autant que les films plus grand public. ce qui fut par exemple étiqueté un temps comme l'esthétique caractéristique des films indépendants américains est également réemployée et réinterprétée par hollywood qui la réintègre dans un style dominant (valorisation d'un effet 'petit budget', d'un style visuel amateur).le caractère indépendant des films n'est donc pas tant économique, industriel (ils sont d'ailleurs pour la plupart financés en partie par des grands studios) ou esthétique mais il est plutôt vécu comme une catégorie culturelle autonome, comme un mode de consommation culturelle (organisé par des stratégies marketing spécifiques). / As it became more popular, American independent cinema developed a perceptible label and a commercial industry. It is no longer a peripheral or marginalindustry and instead a dominant cultural sphere. This explains why this contemporary phase of independent cinema is commonly criticised or questioned.This popularisation of independent cinema developed media saturation. Everyone seems to have its own definition, which explains the discursive conflict and contradictory definitions of independent cinema. This independent position has exceeded its industrial and economic status. The new independent model questions agenuine American independent cinema even though the existence of it is assimilated in the auteuriste, promotional, critic and spectatorial discourses. Though,independent cinema represents now a cultural label, a culture of taste, and acommunity of elitist consumers in opposition of Hollywood. It organizes different interpretive strategies and expectations that are shared among authors, audiences,critics and distributors. Independent cinema coheres as a cultural category and nolonger just as a set of industrial or formal or stylistic conventions. It is the product of a judgment that we make about a certain cinema. Independent cinema is a perceptive film category.

Ce travail part d’une double intuition de Georges Bataille. D’une part, une loi qu’il énonce au Collège de Sociologie : « Les êtres humains ne sont jamais unis entre eux que par des déchirures ou des blessures ». D’autre part, l’idée que les œuvres d’art sont, depuis Lascaux, les traces d’une archéologie de la vie communautaire des hommes, le chiffre d’un non-savoir sur la sphère du sacré qui fait tenir les hommes ensemble, à travers quelques figures-limites (le cadavre, les larmes, l’orgie, le sacrifice). Ces deux intuitions me permettent de définir l’anthropologie figurative comme la discipline qui cherche dans les images une pensée figurale de la communauté, et le partage de la douleur dans le cinéma contemporain comme l’un de ses objets privilégiés. Les pensées contemporaines de la communauté (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) m’autorisent cette hypothèse : le cinéma contemporain a désormais moins affaire à la construction politique d’un peuple qu’à la figuration de communautés trouvant dans l’événement du partage leur seule fin. Or, seul un travail figural peut contrevenir à la solitude du corps souffrant et défaire sa clôture pour l’inclure dans un groupe pathétique qui synchronise des gestes ou assemble des chairs. Le corpus international de films que je constitue autour de la survivance de figures de la communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) ou d’une figuration chorégraphique du soin (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) relève d’un réalisme figuratif qui demande à être étudié non pas sous l’angle d’une politique de l’esthétique (Jacques Rancière), mais d’une impolitique de la beauté. Soit l’idée que l’art est ce lieu où la puissance du pâtir et la puissance du partage, sans faire une politique, autorisent l’espoir d’une communauté prochaine. / This work started with two crucial insights from Georges Bataille’s œuvre. On the one hand, Bataille formulated a law on the constitution of community in the Collège de Sociologie: “Human beings are only linked together by wrenches or wounds”. On the second hand, he elaborated the idea that works of art are, since Lascaux, the traces of an archaeology of men’s community life, the code of a “non-savoir” about the sacred sphere which ties men together thanks to some borderline figures (the corpse, the tears, the orgy, the sacrifice). These two ideas allow me to define figurative anthropology as the discipline that seeks a figural thought of community in images, and the sharing of pain as one of its privileged objects. Contemporary thoughts of community (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) allow me to state this hypothesis: contemporary cinema is not pertaining to the political construction of a people but to the figuration of communities which find in this very sharing their sole purpose. Only a figural work can contravene to the loneliness of a suffering body and break its closed isolation into include it in a pathetic group that synchronises gestures and assembles fleshes. The international corpus of films that I put together about the survival of figures of communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) or the choreographic figuration of care (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) comes under a figurative realism which has not to be studied from the point of view of the politics of aesthetics (Jacques Rancière), but of the impolitics of beauty: that is to say that art is the place where the capacity for suffering and sharing, without leading to a political construction, allows the hope of an imminent community.

O trabalho analisa a construção da visualidade no filme Serras da Desordem (2006) de Andrea Tonacci. As questões que guiam a pesquisa cercam a construção da visualidade fílmica através da investigação da filmografia do diretor, seu histórico, seu repertório. Paralelamente, buscou-se também aproximar a pesquisa de uma abordagem do cinema como resultado de uma colaboração. Também é explorada uma certa produção do cinema contemporâneo que faz ressonância com Serras da Desordem. Assim, aproximamos a produção de Tonacci dos filmes do diretor Rithy Pahn, S-21:The Khmer Rouge Killing Machine (2003) e LImage Manquante (2013), e de Joshua Oppenheimer, The globalization tapes (2003) e The Act of Killing (2012). Em comum, os filmes apresentam uma posição de crítica pós-colonial, exploração das fronteiras cinematográficas, rememoração e reencenação do passado, entre outras características. Para realizar nossa análise utilizamos os conceitos e autores que trabalham a estética relacional, a crítica de arte através da psicanálise, as idéias do Tercer Cine, a análise fílmica contemporânea, o documentário como obra de arte contemporânea, e as discussões que cercam o realismo e o documentário. Por fim, apresentamos um ensaio fílmico de nosso autoria, que dialoga com os filmes analisados. / This work analises the building visual style of Andrea Tonaccis movie Serras da Desordem (2006). The guide lines of this research relates to the filmic visual construction and investigates the directors filmography, history and repertoire. Besides, pursued also approximate the research to an approach that watches cinema as a result of collaborations. Equally, is explored a certain contemporary cinema scene wich is related to Serras da Desordem. Therefore, we approximate Andrea Tonaccis film production to directors like Rithy Pahn, S-21: The Khmer Rouge Killing Machine (2003) and LImage Manquante (2013), and Joshua Oppenheimer, The globalization Tapes (2003) and The act of killing (2012). In common, the movies have a post-colonial criticism, the exploration of cinematographic borders, recollection and reenactment of the past. To build our analysis we made use of authors and concepts wich think relational aesthetics, art criticism, psychoanalysis, the ideas of Tercer Cine, the contemporary film analysis, documentary as contemporary art, and the discussions about realism and documentary. Finally, a film essay that dialogues with the analysed movies is presented by the author of this research.

Lo studio approfondisce la questione dei rapporti tra la geografia e il cinema, in particolare il cinema contemporaneo. La “propensione geografica” del cinema, tipicamente individuata da molti studiosi, deve oggi confrontarsi con un problema fondamentale: quello di una riconsiderazione radicale dei limiti del discorso geografico, e della geografia intesa come scienza, come sapere e come progetto della modernità. In che modo un medium con un’antica vocazione geografica oggi interpreta, commenta, elabora la “crisi della ragione cartografica”? Le “forme cartografiche” del cinema, cioè le porzioni di testo filmico che riflettono sulla geograficità del medium, nel cinema recente non si limitano a dichiarare o a celebrare tale geograficità, ma la considerano come un problema. Se le forme cartografiche sono considerate in modo problematico nel cinema contemporaneo è perché il cinema stesso si è accorto, o si è convinto, che il proprio ruolo è cambiato, che non può più (forse non deve) guardare in un certo modo. Perché la crisi della ragione cartografica del cinema è un sinonimo della crisi strutturale della cinematograficità, di un modo di vedere il mondo, di un dispositivo, di una geometria che descriveva le posizioni di soggetti e oggetti, il loro valore e il loro significato. / This work explores the relationship between geography and cinema, especially contemporary cinema. The “cartographic penchant” of cinema, typically traced by many scholars, has to face a fundamental problem today: a radical reconsideration of the geographical discourse, and of geography intended as a science and an epistemic project of modernity. How does a medium with an ancient geographical vocation deal with the “crisis of cartographic reason”? The “cartographic shapes” of cinema, which are portions of filmic texts that mirror the “geographicity” of the medium, in contemporary cinema do not simply declare or celebrate that kind of geographicity, but they consider it as a problem. The reason the cartographic shapes are problematically represented by recent cinema is that cinema itself is aware, or became convinced, that its cultural role has changed, that it cannot understand the world in a certain way anymore. Because the crisis of cartographic reason of cinema is a synonym of a structural crisis of “cinematographicity”, of a way of looking at the world, of a dispositif, of a geometry that used to describe the positions of subjects and objects, their value and their meaning.

My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular culture actively circulates their shared experiences of changing global status, uneven economic growth (Gong Haomin 2012), and social change. Transnational subjects, Hua and Desi, arrive on screen ready to carve out culturally inflected modernities, in search of "tradition" and "values" to suit contemporary cultural-nations-beyond-borders. I treat film as consumer product, diegetic entity, and text: hence narrative, visual, linguistic and contextual aspects of over fourteen popular commercial films ("Bollywood" and "Yulepian"), are explored. My analysis comprises two interlocking halves: the first two chapters focus chiefly on identities - Hua and Desi, and diasporic persons. The former, conduits for the cultural nation to re-think modernity, the latter a dreamed vanguard of "claim-staking" ethnicised global consumers, defenders of the cultural nation in the "host" country. Chapters Three and Four focus on genres - comedy and history films. Through comedy, these films create state-serving heterotopias or challenge the status quo; perhaps they build cultural nationalist mythos, or lace cynical questions through lavish history film. To understand internecine relationships between economics, society and the imagination, entertainment film cannot be dismissed - in India and China, where change has had intended and unintended consequences unfolding even as uncertainty looms, I show that fresh study, especially in comparison, is absolutely essential.

Made available in DSpace on 2016-06-02T20:23:11Z (GMT). No. of bitstreams: 1 3953.pdf: 1235277 bytes, checksum: 27cbebb49b64ff0f2f5d852fe6492a16 (MD5) Previous issue date: 2011-03-31 / Financiadora de Estudos e Projetos / With digital media's broad dissemination towards society, confirmed by the market expansion of electronic games and the growing digital inclusion due to Web 2.0 advances and mobile telephony, the audiovisual expression transforms itself in meaningful ways, having its effect noticed mainly at the structure of many films, such as Eternal Sunshine of the Spotless Mind (EUA, 2004), directed by Michel Gondry. This study intends to elaborate how the incorporation of certain specificities of digital media which can be seen as an actual cinematographic tendency, analyzing some of earlier works from this director to point out his manners towards the virtual world and sort it out his unique vision in an authorial and consistent body of work. We‟re interested in studying specifically the convergence process between cinematographic narrative and digital media, starting by the analysis of multilinear structures that illustrate this process. The final objective is to cast new lights over this new standard of audiovisual entertainment that rises with the coming of digital media. / Com a vasta disseminação das mídias digitais à sociedade, comprovada pela expansão do mercado de jogos eletrônicos e a crescente inclusão digital propiciada pelo avanço da Web 2.0 e a telefonia móvel, a expressão audiovisual se transforma de forma significativa, sendo que seus efeitos são notados principalmente na estrutura de diversos filmes, como Brilho Eterno de Uma Mente Sem Lembranças (Eternal sunshine of the spotless mind, EUA, 2004), de Michel Gondry. A presente pesquisa pretende elaborar como essa incorporação de determinadas especificidades das mídias digitais podem ser vistas como uma tendência cinematográfica atual, analisando alguns dos trabalhos anteriores do diretor a fim de apontar seu trato com o mundo virtual e evidenciar sua visão única dentro de uma obra autoral e consistente. Interessa estudar especificamente o processo de convergência entre a narrativa cinematográfica e as mídias digitais, a partir da análise das estruturas multilineares que ilustram esse processo. O objetivo final é lançar novas luzes sobre esse novo padrão do entretenimento audiovisual que surge com a chegada das mídias digitais.

How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielbergs 1993 film Schindlers List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantinos Inglourious Basterds and Wes Andersons The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantinos was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapras terms, embodies acting out€ in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audiences awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.