[pt] Esta pesquisa apresenta a trajetória da atuação católica brasileira em cinema ocorrida no Rio de Janeiro, no período que compreende os anos entre 1954 e 1975, desde a criação da Central Católica de Cinema até sua extinção, ao ser absorvida pelos quadros de comunicação da CNBB. A Central foi uma instituição que organizou nacionalmente atividades da ala leiga católica em cinema, atuando principalmente na criação de fichas com cotações morais de filmes. Entretanto, estendeu sua atuação para promoção de cineclubes, cursos de cinema e criação de premiações católicas para filmes brasileiros, como o Prêmio Margarida de Prata e o Troféu Jangada. Tal empenho findou por lançar a pedra fundamental da organização Cineduc – Cinema e educação, que promove ensino de cinema e audiovisual para crianças, ainda em atividade nos dias de hoje. A pesquisa apresenta, sempre articulando as atividades cinematográficas com o contexto político brasileiro, como o olhar católico deslocou-se do moralismo censório inicial para a preocupação acerca da formação do espectador, desde sua infância e a implicação deste olhar na construção de uma cultura cinematográfica implicada com as questões sociais e estéticas brasileiras. / [en] This study presents the brazilian catholic work on cinema as it happened in the city of Rio de Janeiro between the creation of the Central Católica de Cinema in 1954, and its incorporation into the communication services of CNBB in 1975. The Central was an institution that organized on the national level the cinematographic activities of the catholic laity, working mainly on the moral rating of films. Its activities also included promoting film societies and courses, and the creation of catholic awards of brazilian cinema such as the Prêmio Margarida de Prata and the Troféu Jangada. The Central laid the ground for the Cineduc - Cinema e educação, a still active organization that provides audiovisual education for children. Relating cinematographic activity with the larger brazilian political context, this study shows how the catholic attention moved from moral censoring to a concern about the education of the moviegoer from his or hers childhood, and the involvement of this attention with the establishment of a cinematographic culture attuned to brazilian social and aesthetical issues.

This Master's thesis deals with a critique of popular music by the British conservative philosopher Roger Scruton. It is based on a premise that this critique is not purely aesthetic, as it is deeply rooted in Scruton's conception of art, culture, and man. The first part of the thesis, therefore, deals with this broader context, and its outcome is an explanation of the reasons why Scruton rejects popular music as an integral part of popular culture. The second part of the thesis focuses on Scruton's philosophy of music, in other words, on questions of musical aesthetics: what the ontological status of music is, what the nature of its meaning is, what its value is, and what its 'ethical power' is. The third part is devoted to the critique of popular music itself: first, the concept of popular music is clarified, and then the outputs of the two previous chapters are linked to fully grasp Scruton's condemnation of popular music. In the end, the thesis points to problematic aspects of Scruton's theory: it questions the adequacy of applying the model of evaluating classical music to the case of popular music.