In the late 1990s, motion picture and television production began a process of rapid digitalization with profound implications for cinematographers in Hollywood, as new tools for “digital cinematography” became part of the traditional production process. This transition came in three waves, starting with a post-production technique, the digital intermediate, then the use of high-definition video and digital production cameras, and finally digital exhibition. This dissertation shows how cinematographers responded to the technical and aesthetic challenges presented by digital production tools as they replaced elements of the film-based, photochemical workflow. Using trade publications, mainstream press sources, and in-depth interviews with cinematographers and filmmakers, I chronicle this transition between 1998 and 2005, analyzing how cinematographers’ responded to and utilized these new digital technologies. I analyze demonstration texts, promotional videos, and feature films, including Pleasantville, O Brother Where Art Thou, Star Wars: Attack of the Clones, The Anniversary Party, Personal Velocity, and Collateral, all of which played a role in establishing a discourse and practice of digital cinematography among cinematographers, producers and directors. The challenges presented by new collaborators such as the colorist and digital imaging technician are also examined. I discuss cinematographers’ work with standards-setting groups such as the Society of Motion Picture and Television Engineers, Academy of Motion Picture Arts and Sciences, and the studio consortium Digital Cinema Initiatives, describing it as an effort to protect “film-look” and establish look-management as a prominent feature of their craft practice. In an era when digitalization has made motion pictures more malleable and mobile than ever before, this study shows how cinematographers attempted to preserve their historical, craft-based sense of masterful cinematography and a structure of authority that privileges the cinematographer as “guardian of the image." / text

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2016-02-16T12:43:12Z No. of bitstreams: 1 arquivototal.pdf: 13238594 bytes, checksum: 276fb476c19b9bf5bb8160c24835f54d (MD5) / Made available in DSpace on 2016-02-16T12:43:12Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 13238594 bytes, checksum: 276fb476c19b9bf5bb8160c24835f54d (MD5) Previous issue date: 2015-10-13 / People with hearing or visually impairment face many di culties to participate in the social life, to communicate with other people and to access information. Their participation in cinemas, theaters, educational environment, among others, is often limited due to the lack of solutions that enable their interaction and participation. For the deaf, for example, the accessibility resources normally provided at the cinema room is limited to subtitle text format. This is the predominant solution on the current scenario. However, on the other hand, there are some studies that are in progress to try to solve these problems, such as the use of second screen devices to project content with sign language. For the blind, the accessibility problem is further aggravated because currently there are few cinema rooms that o er the resources of audio description. Normally, the blind rely solely on the help of family or friends to narrate the events during the exhibition of the lm. The accessibility point of view, these approaches are considered ine cient, since the deaf, for example, have enough trouble reading and writing in the spoken language of their country. Therefore, to minimize these problems, this paper presents a computational solution capable of automatically generating from the subtitles, video tracks with Brazilan Sign Language (Libras) windows for deaf users, and from the movie script, produce audio description for blind users and distribute such content for users using the second screen devices. Experiments using a prototype showed that the solution has the potential to generate e ciently contents intelligible for this users, increasing your access to this technology type. / Pessoas com de ciência auditiva ou visual enfrentam diversos entraves para participar da vida em sociedade, para se comunicar com outras pessoas e ter acesso à informação. A participação dessas pessoas em ambientes como cinemas, teatros, escolas, enquanto navegam na Internet, entre outros, é muitas vezes limitada devido a ausência de soluções acessíveis que viabilizem sua participação e interação. Para os surdos, por exemplo, os recursos de acessibilidade normalmente oferecidos nas salas de cinema se limitam a legendas no formato texto. Esta é a solução predominante no cenário atual. Porém, em contrapartida, existem algumas pesquisas que encontram-se em desenvolvimento para tentar resolver esses problemas, como a utilização de dispositivos de segunda tela para projetar os conteúdos com Língua de Sinais. Para os cegos, o problema de acessibilidade é ainda mais agravante, pois, atualmente, existem poucas salas de cinema que disponibilizam os recursos da Audiodescrição. Normalmente, os cegos contam apenas com a ajuda de familiares ou amigos para narrar os acontecimentos durante a exibição do filme. Do ponto de vista da acessibilidade, essas abordagens são consideradas inefi cientes, uma vez que os surdos, por exemplo, têm bastante dificuldade de ler e escrever na língua oral do seu país. Portanto, para minimizar esses problemas, este trabalho apresenta uma solução computacional capaz de gerar automaticamente a partir das legendas, trilhas de vídeo com janelas de Libras para usuários surdos, e a partir do roteiro do fi lme, gerar Audiodescrição para usuários cegos e distribuir esses conteúdos para usuários usando dispositivos de segunda tela. Experimentos com um protótipo mostraram que a solução tem potencial para gerar de forma e ciente conteúdos inteligíveis para esses usuários, melhorando o seu acesso a esse tipo de tecnologia.

A tecnologia digital, mais do que diversidade de suporte, causou grandes impactos no cinema, mudando todo o processo que envolve um filme, desde a escrita do roteiro, passando pela produção, pós- produção e difusão, lançando transformações também na preservação. Objetivamos pesquisar quais foram os principais impactos destas transformações sobre o cinema e sobre o ensino da área nas instituições de ensino superior brasileiras. Além de postulados bibliográficos, que nos ajudaram a verificar que o mundo e os seres humanos mudaram com a tecnologia digital, utilizamos documentos de escolas de cinema nacionais e internacionais, bem como entrevistas com seus docentes, dirigentes, estudantes e egressos, para traçar panoramas analíticos acerca dos contextos gerais e particulares do cinema e do ensino. Na primeira parte da tese verificamos que o número de escolas de cinema e audiovisual brasileiras cresceram em 250%, potencializado por políticas públicas para a educação, pelas facilidades trazidas pelas tecnologias emergentes e pela intensificação de interesse dos jovens que nasceram em meio a um universo saturado de imagens e sons. Nas partes seguintes estudamos as metamorfoses do cinema analógico para o digital, hasteando como isto trouxe vantagens para a formação de realizadores egressos dos cursos de bacharelado e tecnologia em cinema e audiovisual. / The digital technology, more than the diversity of the support itself, have caused great impact on filmmaking, changing every step regarding the film production: from the script development to film production, post-production, distribution and also, preservation. Our aim is to develop a research into what were the main impacts of those transformations over Cinema and over Brazilian teaching institutions of higher education. Besides bibliographic hypothesis, that had assisted us on presenting the main aspects of human change when in contact with digital technology, we used official documents from international and national cinema institutions, as well as interviews with faculty members, chairmen, and alumnae to trace an analytical panel about general and specific topics of filmmaking and film schools. On the first part of the thesis, we verified that the number of Brazilian Film Schools had increased in 250%, probably leveraged by public policies on education, emerging technological facilities and by the increased interest on young students, born in an universe impregnated with images and sounds. On the following parts, we conducted a study onto the metamorphosis of analog film into digital, emphasizing on the advantages noticed by the students when earning diploma.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-04T14:21:22Z No. of bitstreams: 1 tomyocostaito.pdf: 1770745 bytes, checksum: 7da766d3e43e9cd6f28664b22e9be58b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:56:20Z (GMT) No. of bitstreams: 1 tomyocostaito.pdf: 1770745 bytes, checksum: 7da766d3e43e9cd6f28664b22e9be58b (MD5) / Made available in DSpace on 2016-04-24T03:56:20Z (GMT). No. of bitstreams: 1 tomyocostaito.pdf: 1770745 bytes, checksum: 7da766d3e43e9cd6f28664b22e9be58b (MD5) Previous issue date: 2013-03-26 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa tenta mimetizar os modos de pensamento traçados pelas articulações das imagens e sons do filme Dez, de Abbas Kiarostami, a partir de um modelo ensaístico inspirado no método benjaminiano. Realizamos um mapeamento do conceito de mímesis de Walter Benjamin identificando pontos estratégicos para a construção de nosso ensaio. Apresentamos os dois grandes modos de pensamento do cinema segundo a classificação de Gilles Deleuze, explicitando suas diferenças: a imagem-movimento e a imagem-tempo. Descrevemos o modo de utilização das técnicas cinematográficas em Dez a partir das categorias de espaço de produção e de espaço fílmico. Analisamos as imagens de Dez, com base na descrição realizada anteriormente, evidenciando que o modo de pensamento engendrado pelas imagens corresponde ao da imagem-tempo, apontando o conceito de imagem-corpo como uma possível subcategoria. Ao final do trabalho, apresentamos nossa tentativa de mimetizar o modo de pensamento do filme a partir da imagem-corpo, buscando suscitar, no leitor, imagens, que, por meio da escrita, possam estabelecer uma configuração comum com o modo de pensar do filme. / This research tries to mimetize the modes of thought constructed by the images and sounds of the film Ten by Abbas Kiarostami through a model inspired by the essayistic method of Walter Benjamin. We conducted a mapping of the concept of mimesis in Benjamin‟s writings identifying strategic points for the construction of our own essay. We also work two major ways of thinking cinema according to the classification of Gilles Deleuze, explaining their differences: the movement-image and time-image. We describe the use of techniques in the film Ten with the help of the categories of production space and filmic space. We analyzed the images of Ten, based on the description previously performed, showing that the mode of thought engendered by the images corresponds to the time-image, showing the concept of body-image as a possible sub. At the end of the paper, we present our attempt to mimetize the mode of thought of the film through the concept of body-image, seeking to raise images through writing, with the goal of establishing a common configuration with the thinking of the movie.

Solicitud de embargo por publicación en revista indexada. / El cine de autor peruano ha enfrentado problemas de distribución y exhibición cinematográfica en las ventanas de alcance masivo. Estas han sido acaparadas por la abundante oferta de los grandes estudios de Hollywood. Actualmente, el confinamiento obligatorio por causa de la Covid-19 ha acelerado y materializado un proceso de transformación digital en dichos canales que se encontraba en desarrollo. Es por ello que el objetivo principal de la investigación busca analizar como contribuye la transformación digital en los canales de distribución y exhibición al cine de autor peruano. Así entender como estos canales pueden contribuir al desarrollo y promoción del cine de autor peruano. Para llevar a cabo este objetivo se realizó una investigación interpretativa con una metodología de datos cualitativos. Siendo las categorías seleccionadas: cine de autor, transformación digital y canales de distribución y exhibición. Realizando entrevistas semi estructuradas a especialistas en marketing y producción cinematográfica. Una conclusión, desde la perspectiva de los especialistas, podemos indicar que dicha transformación permite abrir mercados y atender a públicos que antes estaban históricamente desatendidos. Cada día, más personas acceden a las plataformas de streaming y no se encuentran limitadas a un número reducido de salas y horarios para ver una película. Sin embargo, ningún esfuerzo será suficiente si no va de la mano con un trabajo de formación de la audiencia. Finalmente, se mostró una preocupación por la falta de especialización en las distintas áreas de la distribución. Demostrando la importancia de la participación de profesionales especializados en marketing, para liderar dichos procesos. / Peruvian author's cinema has faced distribution and film exhibition problems in the windows with massive reach. These have been monopolized by the abundant offer of Hollywood's great studios. Currently, mandatory confinement due to the Covid-19 has accelerated and materialized a process of digital transformation in those channels that was under development. That is why the main objective of the research seeks to analyze how digital transformation in distribution and exhibition channels contributes to Peruvian author's cinema. So, understand how these channels can contribute to the development and promotion of Peruvian author's cinema. To carry out this objective, interpretative research was carried out with a qualitative data methodology. Being the selected categories: author's cinema, digital transformation, and distribution and exhibition channels. Carrying out semi-structured interviews with specialists in marketing and film production. A conclusion, from the perspective of specialists, we can indicate that this transformation allows markets to be opened and attended to audiences that were previously historically neglected. Every day, more people access the streaming platforms and are not limited to a small number of theatres and schedules to watch a movie. However, no effort will be enough if it does not go hand in hand with audience training work. Finally, concern was expressed about the lack of specialization in the different areas of distribution. Demonstrating the importance of the participation of professionals specialized in marketing, to lead these processes. / Tesis

For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?

[pt] Este trabalho discute a ascensão do cinema digital e o papel da curadoria na programação e seleção de curtas-metragens brasileiros contemporâneos em três festivais de cinema: Cine PE - Festival do Audiovisual, Festival de Brasília do Cinema Brasileiro e na Mostra de Cinema de Tiradentes. O recorte temporal se dá entre os anos de 2017 e 2021 por conta do encontro entre uma progressiva popularização ao acesso dos sensores digitais e a imersão do Brasil em uma severa e polarizante crise político-social. O trabalho retoma e analisa a noção de aura, tal como proposta por Walter Benjamin em seu ensaio A obra de arte na era de sua reprodutibilidade técnica; retoma igualmente a ideia de programação e curadoria como formas de pós-produção, tal como proposta por Thomas Elsaesser. Um dos objetivos é analisar a mudança de cenário - favorecida pela entrada da tecnologia do digital - onde o curta-metragem brasileiro passa a ter um valor simbólico e cultural gradativamente mais significativo. Os três festivais de cinema, já citados, foram escolhidos porque suas curadorias ou condições de acontecimento sofreram grandes reviravoltas em função dos diferentes contextos político-sociais do país. Por fim, interessa discutir o papel da curadoria e dos festivais dentro do processo de legitimação histórica e artística de filmes assim como a relação entre os realizadores e a construção de um imaginário sobre o cinema nacional / [en] This study discusses the rise of digital cinema and the role of curatorship in the programming and selection of contemporary Brazilian short films in three film festivals: Cine PE - Festival do Audiovisual, Festival de Brasília do Cinema Brasileiro and Mostra de Cinema de Tiradentes. The time frame takes place between the years 2017 and 2021 due to the encounter between a progressive popularization of access to digital sensors with the immersion of Brazil in a severe and polarizing political-social crisis. The study resumes and analyzes the notion of aura, as proposed by Walter Benjamin in his essay The Work of Art in the Age of Mechanical Reproduction; and it also takes up the idea of programming and curation as forms of post-production, as proposed by Thomas Elsaesser. One of the objectives is to analyze the change in scenario - favored by the entry of digital technology - where the Brazilian short film starts to have a gradually more significant symbolic and cultural value. The three aforementioned film festivals were chosen because their curatorship or event conditions underwent major upheavals due to the different political and social contexts in the country. Lastly, it is relevant for the study to discuss the role of curatorship and festivals within the process of historical and artistic legitimation of films as well as the relationship between filmmakers and the construction of an imaginary about national cinema.

Treasure is a feature-length narrative fictional film directed by Chris Williamson as part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the School of Visual Arts and Design at the University of Central Florida. This thesis is a documentary record of the film production from concept to completion. In this thesis the concerns of authorship are explored from the perspective of the author as the executive producer, writer, and director of the film.

Bien que son existence soit presque aussi vieille que le cinéma, l‘écran fragmenté (que les académiciens et autres professionnels du cinéma de langue anglaise désignent communément sous l‘appellation « split screen ») n‘a jamais fait l‘objet d‘analyses véritablement approfondies. Quand il est mentionné dans les livres d‘histoire, l‘écran fragmenté est rapidement esquivé. Pourtant, ses apparitions sont nombreuses. Ce mémoire de maîtrise cherche à corriger nombre d‘idées préétablies en exposant l‘histoire de cette manifestation visuelle, en commençant des débuts (le « cinéma des premiers temps ») jusqu‘à l‘arrivée du « cinéma numérique » du nouveau millénaire. / Despite the fact its existence is almost as old as cinema itself, the fragmented screen (commonly known as « split screen » in the academic and professional world of the seventh art) has never been the object of serious and exhaustive analysis. When mentioned in history books, the fragmented screen is quickly eluded. And yet its appearances are numerous. This Master thesis aims at rectifying a number of pre-established ideas by exposing the history behind this visual manifestation, from early cinema to the arrival of digital films.

Bien que son existence soit presque aussi vieille que le cinéma, l‘écran fragmenté (que les académiciens et autres professionnels du cinéma de langue anglaise désignent communément sous l‘appellation « split screen ») n‘a jamais fait l‘objet d‘analyses véritablement approfondies. Quand il est mentionné dans les livres d‘histoire, l‘écran fragmenté est rapidement esquivé. Pourtant, ses apparitions sont nombreuses. Ce mémoire de maîtrise cherche à corriger nombre d‘idées préétablies en exposant l‘histoire de cette manifestation visuelle, en commençant des débuts (le « cinéma des premiers temps ») jusqu‘à l‘arrivée du « cinéma numérique » du nouveau millénaire. / Despite the fact its existence is almost as old as cinema itself, the fragmented screen (commonly known as « split screen » in the academic and professional world of the seventh art) has never been the object of serious and exhaustive analysis. When mentioned in history books, the fragmented screen is quickly eluded. And yet its appearances are numerous. This Master thesis aims at rectifying a number of pre-established ideas by exposing the history behind this visual manifestation, from early cinema to the arrival of digital films.