Le cinéma des années 1990 et 2000 est parfois décrit comme celui d’un retour au réel, regroupant de nouvelles tendances réalistes. Le réalisme est une notion composée et complexe, qui présente une galaxie de significations relatives et historiquement déterminées : le mot peut désigner à la fois une tendance générale de l’art, les capacités représentatives propres d’un moyen d’expression, un courant artistique historique, mais aussi l’efficacité globale d’une œuvre narrative ou encore, au sein de celle-ci, une qualité particulière du récit ou du style. Étudier le réalisme d’un art dans une période implique ainsi la compréhension des particularités de celui-ci, ses liens avec le réalisme artistique général, l’examen des théories liées au réalisme en vigueur, enfin l’analyse des œuvres. Pour comprendre le réalisme dans la fiction contemporaine, cette thèse propose donc une délimitation théorique de la notion dans le champ du cinéma, visant une typologie des différentes significations. On peut alors étudier la nouveauté du réalisme esthétique contemporain, en analysant les constructions narratives des films de certains cinéastes (Nanni Moretti, Hou Hsiao-hsien, Abbas Kiarostami, ainsi que deux films du Dogme 95), puis en examinant leurs traits stylistiques communs. / The cinema of 1990’s and 2000’s is sometimes described as a return to reality, including new realistic trends. Realism is a compound and complex concept, which presents a galaxy of relative and historical meanings : the word can appoint at the same time a general trend of art, the special representative capacities of a medium, a historical artistic movement, but also the global efficiency of an oeuvre or, within this one, a particular quality of the narrative or style. To study the realism of an art for a period so implies the understanding of the characteristics of this art, its links with the general artistic realism, the examination of the theories related to the current realism, finally the analysis of works. To understand realism in the contemporary fiction, this thesis thus proposes a theoretical delimitation of the notion for cinema, aiming at a typology of the various meanings. One can then study the novelty of contemporary aesthetical realism, by analyzing narrative constructions of some various directors’ movies (Nanni Moretti, Hou Hsiao-hsien, Abbas Kiarostami, and two Dogme 95 films), then by examining their common stylistic features

Orientador: Silvio Donizetti de Oliveira Gallo / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-21T03:18:59Z (GMT). No. of bitstreams: 1 Guarienti_LaisaBlancydeOliveira_M.pdf: 1628380 bytes, checksum: 4fb7578aab2ff631e886ca408f6a53b1 (MD5) Previous issue date: 2012 / Resumo: Uma dissertação escrita entre o encontro de um filme, de um percurso teóricofilosófico e de outros atravessamentos. Lua de Papel (Paper Mon, 1973, direção Peter Bogdanovich) guia à escrita, e é com este filme que se acompanha o problema deste trabalho: o que aprende uma vida quando decide seguir adiante? Seguir adiante, no sentido da potência que o termo comporta; uma criação, um suscitar o novo, um inédito. Tem-se uma grande viagem (extensiva); percorrem-se estradas dos Estados Unidos da América; um filme estilo road movie, tem-se dois personagens principais e é com eles que se deslizam traçados sobre uma amizade, uma aliança, um encontro; tem-se a duração do percurso (intensivo), que ultrapassa questões espaços-temporais; duração no sentido de afecções, de forças que atravessam e marcam as duas vidas dos personagens; tem-se estratégias de resistência nessa viagem, certo maneirismo/estilo de vida é criado entre os dois. Gilles Deleuze, Félix Guattari e Michel Foucault, além do filme, são os principais intercessores deste escrito e para fechar um triângulo, surge um olhar na diagonal de um espectador, que não analisa o filme, que não escreve uma dissertação filosófica; um flaneur surge aí como observador e pensador, ele alça sobrevoos e surge como conectivo de novas formas de pensar sobre algo já pensado, e ao longo do texto, experimenta alguns conceitos destes filósofos para problematizar, junto com a educação, a aprendizagem deambulante. Este termo composto é que suporta a tese principal deste trabalho. Esse um aprender deambulante que acompanha todo um percurso de uma vida, quando ela se abre ao inédito e decide seguir adiante. / Abstract: A master thesis written among the meeting of a movie, a theoretical and philosophical journey and other crisscrosses. The movie (PaperMon, 1973, directed by Peter Bogdanovich) drives this writing and keeps pace with this research issue: what life learns when it decides to go ahead? 'To go ahead' in the sense of the potency this term carries; a creation, the act of bringing forth something new, something out of the ordinary. There is a long trip (extensive) where roads are traversed in the United States. A road movie film with two main characters and sliding drawings of a friendship, an alliance, an encounter. It ha been a duration (intensive) in the way that goes beyond temporal space matters. Duration in the sense of affections and forces that crosses and leaves a mark on both characters lives. There are tactics of resistance on this journey; a certain way of life is created among the characters. Apart from the movie, Gilles Deleuze, Félix Guatarri and Michel Foucault are the main intercessors of this thesis. In order for an outcome of this triangle of forces a diagonal look of a viewer - who neither analyzes the film nor writes a philosophical essay - arises. A flâneur emerges as an observer and a thinker who lifts overflights as a connective of new ways of thinking on what has already been thought. Experimenting with some of the concepts of these philosophers throughout the thesis in order to discuss education and the 'wandering learning process': a compound term which backs up this essay. A 'wandering learning process' that follows us along the way when life decides to take an unprecedented step and go ahead. / Mestrado / Filosofia e História da Educação / Mestre em Educação

[pt] O trabalho História e utopia: o documentário de Silvio Tendler investiga o compromisso com a construção da memória política assumido pelo cineasta brasileiro Silvio Tendler, bem como discute alguns mecanismos responsáveis pelo incômodo resultante da sua narrativa no cenário contemporâneo. Tendler realizou cerca de trinta filmes documentários sobre personagens públicos e processos históricos nacionais, ambos identificados à preocupação em reelaborar a memória política brasileira e conscientizar sobre os autoritarismos de Estado. Mas sua urgência em narrar os sonhos libertários, percorrer as rupturas políticas e atualizar as esperanças para construção de um futuro democrático entra em confronto com as produções contemporâneas do gênero. Nestas, ficam explícitos o abandono dos horizontes de empenho em construir utopias e a rejeição da preocupação com a esfera pública de participação política. Para compreender este processo, este trabalho apresenta uma breve descrição biográfica, análise de alguns de seus filmes, suas políticas de representação histórica e os movimentos trilhados pelo autor. O trabalho coloca sua obra em diálogo com as características encontradas nas narrativas documentais recentes e com o conjunto de diretrizes teóricas do gênero. Assim, tenta entender de que modo o rompimento com os pilares do pensamento que guiou a modernidade ocidental, que impulsionou os relatos de emancipação, termina por envolver de desconfiança a identidade coletiva que perpassa a produção de Tendler. / [en] The work History and Utopia: the Documentary of Silvio Tendler investigates the pact with the construction of political memory assumed by the Brazilian director, as well as discusses some of the mechanisms responsible for the resulting sense of displacement of his narrative construction in the contemporary scene. Tendler authored more than thirty documentary films about public personalities and national historical processes, both indentified by the desire to rework the political memory and raise consciousness the authoritarian past of the State. But his urgency to narrate dreams of liberation, to follow political ruptures, and to carry out the new hopes for the construction of a democratic future enters into conflict with the contemporary productions in the genre. In these productions the abandonment of the horizons of dedication to build utopias becomes explicit, as does the rejection of attention to the public sphere of political participation. To understand this process, we write a brief biographical description, select a few of his films, observe his politics of historical representation and the movements chronicled by the author. We place his work in dialogue with the main characteristics encountered in recent narrative documentary and with the theoretical tendencies of the genre. Doing so, we try and understand by what mode of rupture with the pillars of thought that have guided occidental modernism, that created accounts of emancipation, ends up creating suspicion of the collective identity reclaimed in Tendlers work.

The boom microphone has been used to record dialogue on a film set for decades. As a boom operator it can be difficult in certain situations to acquire an ideal placement for the boom microphone. It depends on the frame and the lighting on the set. There are situations where the boom operator is forced to place the microphone underneath the actors instead of the standard overhead position. To investigate the difference between these techniques, and what audio quality attributes that affect the viewers’ choice of preference, a listening test has been constructed. The subjects were instructed to choose preferences in four trials of stimuli that had been recorded with both microphone techniques. To collect further data the subjects were also instructed to describe the differences they perceived between the stimuli. A statistically significant result was not found, except for one of the trials, the trained listeners preferred the underneath microphone technique for the second female stimuli. A difference between the techniques was difficult to determine from the answers given by the subjects. The conclusion was made that there is not a clear preference between the microphone techniques. Even though one of the trials was significant a clear difference could not be found in the analysis of the qualitative data.

[pt] Este estudo investiga se há fidelização às salas de cinema e como ela é desenvolvida em um contexto onde a escolha do filme não é levada em consideração. Através de uma pesquisa de campo, são levantadas as variáveis que podem exercer influência no conjunto de consideração dos consumidores de cinema e como essas variáveis se associam à fidelidade. Os resultados indicam indícios de fidelização e de possibilidades de se utilizar a estrutura analítica empregada para aumentar os níveis de fidelização das empresas do setor. / [en] This study investigates possibilities to determine loyalty for movie theaters and how it is developed in context where film preferences are excluded. A survey was used to identify the influence of variables on consumers` evoked set and if or how these variables are associated with loyalty. Although findings show significant but low degrees of loyalty, they provide an analytical framework to increase loyalty levels for movie theater businesses.

As well as critiquing my own abilities throughout the writing process, the essay aims to explore and examine the various models of friendship between central male protagonists and the evolution of masculinity and homosociality within the buddy movie/bromance genre which has been a staple of the American film industry since the before the 1950s. In addition, I will note if these on-screen relationships have been the product of social change and wide spread acceptance of an evolving idea of what constitutes ‘masculinity’ and if, in turn, these new boundaries of homosociality have been, in any way genre changing. Alongside this essay I intend to create a piece of creative writing within the bromance comedy genre set against the backdrop of Montclair New Jersey in present day which explores the difficulties and solidarities of friendship between five old college friends. This film intends to fit in with contemporary bromance and appeal to the market demographic of 18 – 35 males by conforming to accepted and expected aspects of the genre such as, friendship, exploration, crisis, discovery and, most importantly, comedy.

[pt] Partindo da leitura de dois filmes de Werner Herzog realizados na Amazônia, Aguirre - A Cólera dos Deuses (1972) e Fitzcarraldo (1982), pretende-se identificar a busca por imagens absolutas na natureza e por verdades intensificadas através da arte. O conceito de verdades extáticas articula algumas questões centrais deste trabalho, tais como as tensões entre ética e estética na arte, a autoria no cinema, as peculiaridades do cineasta alemão e, ainda, a representação do espaço amazônico no cinema. / [en] Starting from the reading of two films directed by Werner Herzog, both made in the Amazon region, Aguirre - The Wrath of God (1972) and Fitzcarraldo (1982), we intend to identify the pursuit of absolute images in nature and of the intensified truths through art. The concept of ecstatic truth articulates some of the central questions of this study, such as the tensions between ethics and aesthetics in art, film authorship, the peculiarities of this German filmmaker and, finally, the representation of the Amazon space in cinema.

[pt] Esta pesquisa investiga as políticas da memória em jogo no documentário Rocha que voa, 2002, em que o diretor Eryk Rocha se volta para o período em que seu pai, Glauber Rocha, ficou exilado em Cuba, em consequência da ditadura militar no Brasil. Não se preocupando em explorar as memórias íntimas e/ou domésticas desta relação filial, o filme opta por focar a memória do cinema latinoamericano das décadas de 60/70, através dos arquivos cinematográficos e dos testemunhos de cineastas que viveram a época. Os conceitos de memória-hábito, memória-distendida e memória-sonho, propostos por Henri Bergson (1990), foram investigados a partir do que o próprio filme propõe. Seguiremos analisando como se dão os gestos de intervenção do diretor na filmagem e, principalmente, na montagem, com o auxílio da imagem eletrônica. Desse modo, discorremos sobre o uso dos arquivos audiovisuais e na multiplicação de seus sentidos quando colocados em relação com outras imagens e sons. / [en] This research investigates the political memories in place in the documentary Rocha que voa, 2002, where the director, Eryk Rocha, returns to the period when his father, Glauber Rocha, was exiled to Cuba as a consequence of the military dictatorship in Brazil. As opposed to exploring the close and/or domestic memories of this relationship, the film opts to focus on the memory of Latin American cinema in the 1960s and 70s through the cinematographic archives and testimonies of filmmakers living at the time. The concepts of habit memory, extended memory and pure memory, proposed by Henri Bergson (1990), was investigated based on the proper consideration of the film. We will analyze how the director s gesture intervens in the filming and, mainly, the film editing, with the help of the electronic image. In this way, we discourse on the use of the audiovisual archives and in the multiplication of its directions when placed in relation with other images and sounds.

[pt] O propósito principal desse trabalho foi enxergar o cinema enquanto um processo de acumulação do conhecimento, construção de saber e de distinção social. Com esses apontamentos, queremos refletir sobre as possibilidades de significado que provém do cinema enquanto uma experiência capaz de transformar a vida dos indivíduos na medida em que atua na formação dos mesmos em seu caráter pessoal e com isso, participam da estruturação de suas formas de ver, entender e se posicionar perante a sociedade ao qual habitam. Para feitio desse objetivo observa-se uma agenda-diário de um intelectual brasileiro que, na década de 1950, documentou a sua vivência sobre o cinema e, neste objeto, trouxe à tona suas formas de aprender com o cinema. Essa agenda reflete, dentre outras, as práticas de cinema e as vivências proporcionadas pelo mesmo no âmbito de um referencial que enxerga a sétima arte enquanto um instrumento para a formação do indivíduo e um reflexo-espelho da sociedade na qual se insere o próprio. / [en] The main purpose of this study was to understand the relationship with the cinema as a process of knowledge accumulation, knowledge construction and social distinction. With these appointments, we wanted to reflect on the possibilities of meaning that comes from the film as an experience capable of transforming the lives of individuals in that it focuses on developing them into his personal character and, therefore, participates in the structuring of their forms of see, understand and position themselves before the society in which they live. To meet this goal, we took as an empirical agenda / diary organized by an intellectual of Rio de Janeiro who, in the 1950s, documented her experience with film and recorded in this object, his apprenticeship with film. This agenda / diary reflects and documents practical experiences offered by film and related films within a framework that saw the seventh art as a tool for shaping the individual and a mirror reflection of society in which the organizer was part of the material . For empirical analysis were taken as reference the theoretical and methodological studies of personal diaries made by Robert Yinger and reflections of Norbert Elias and Carlo Gizburg. The results suggest that in the period in which it was organized in question, the cinema was seen as a source of knowledge considered legitimate and distinctive in the training staff, aesthetics and politics.

This paper analyzes attitude of Czech audience towards product placement in movies and PC games and explores its potential impact on Czech consumers' decision making. This paper also deals with the segmentation of product placement, its position within the communication mix, historical development of this technique and finally conclusions of the foreign studies.