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[pt] Esta dissertação propõe-se a pesquisar o Design de Produção através dos cenários e dos objetos cenográficos que os compõem com a intenção de estabelecer a comunicação visual do filme com o espectador. / [en] This dissertation proposes to research Production Design through the movie set and the props that compose it with intention to establish the visual communication with the viewer.

Este trabalho apresenta o roteiro do longa-metragem Uma Bicicleta, Minha Mãe e Dois Cinemas, que aborda o cotidiano de uma família que mora e trabalha em um cinema de bairro em Curitiba. Paralelamente ao roteiro, foi desenvolvida uma pesquisa sobre a história dos cinemas de rua de Curitiba, privilegiando depoimentos de profissionais que trabalharam na atividade exibidora. Os relatos influenciaram o formato final da dramaturgia, fornecendo indicações para a criação de personagens e situações, delimitando ainda as épocas onde acontece a estória. O roteiro resulta, portanto, em um tratamento ficcional dos testemunhos obtidos, à medida do possível o mais próximo dos relatos obtidos. A dramaturgia é aplicada na transposição do relato para o universo ficcional. / This paper presents the script of the Uma Bicicleta, Minha Mãe e Dois Cinemas, which addresses the life of a family who lives and works in a cinema district in Curitiba. Parallel to the script, it was developed a research on the history of movie theaters of Curitiba, favoring testimony from professionals who worked in the exhibitor business. The reports influenced the final form of the drama, providing directions for creating characters and situations, limiting even the times where the story happens. The script is, therefore, a fictional treatment of the evidence obtained, the closest to the reports obtained. Dramaturgy is applied in the transposition of the report to the fictional universe.

Dans les années vingt, au moment de l’institutionnalisation du cinéma classique hollywoodien, discours critiques et pratiques publicitaires maintiennent actif un plaisir spectatoriel lié à la présence sensationnelle de réel dans le film. La notion de « réalisme » que ces discours utilisent est un concept fragmenté qui vise d’une part à asseoir la légitimité du cinéma sur le sérieux des arts réalistes, et d’autre part à mettre l’accent sur les liens que le film entretient avec la réalité, dans son tournage, sa fabrication en studio, ou les techniques de l’illusion réaliste. Ces discours révèlent donc tout ce qu’il y a de réel dans le travail de la fiction des films. Il y a donc derrière ces discours un projet réaliste de construction d’un regard spectatoriel anti-illusionniste et actif qui est invité à analyser le film comme une illusion artificielle. Ces discours sont étendus dans le quotidien des spectateurs par des pratiques publicitaires qui visent à créer un espace de réception ludique où réel et romanesque s’interpénètrent dans le ballyhoo aux accents forains, les décorations des entrées de salles de cinéma, et les prologues joués sur scène avant (ou pendant) le film. Ce regard réaliste que ces discours et pratiques développent nous permet d’analyser la réception des films muets hollywoodiens comme un moment ludique et participatif. En visant au réveil des sens et à l’acuité du regard chez le spectateur, ces discours et pratiques permettent de poser la question d’un réalisme hollywoodien dont l’objectif serait un jeu actif, conscient et critique avec l’illusion cinématographique. / In the 1920s, as Hollywood cinema is undergoing industrial institutionalization, critical and advertising discourses maintain active a spectatorial pleasure derived from the sensational presence of reality in fiction films. The notion of « realism » used in those discourses is a « cluster concept » aiming on the one hand to derive cinema’s legitimacy from the serious purpose of realistic arts, and on the other to emphasize the relationship between film and the reality of on location or studio shooting, of the manufacturing of films, and of the tricks behind the realistic illusion. Those discourses therefore reveal all that is real in how fiction works in films and support a realistic project to construct an active and non-illusionistic spectatorial gaze that is invited to analyze film as an artifical illusion. These discourses are extended to spectators’ daily life through advertising practices that aim to create a playful space of reception where reality and romance merge in circus-inspired ballyhoo, in lobby decorations, and in on-stage prologues before, or during, the film. This realistic gaze developped by such discourses and practices allows us to analyze the reception of Hollywood silent films as a playful and participative moment. Aiming to awaken spectators’ senses and sharpen their attention, such discourses and practices allow us to raise the question of a Hollywood realism that would aim to create an active, conscious and critical game with the filmic illusion.

La recherche en marketing commence à tracer les contours d’un concept de marque humaine. Les parcours professionnels de certains de ces individus appréhendés tels des marques, comme ceux des réalisateurs de films, nous conduisent à soulever la question de l’extension de la marque humaine. Sachant que l’existence sociale de l’individu marqué dépend de la légitimité détenue auprès de publics clés (les membres internes de l’industrie, les critiques et le grand public), la question se pose alors de l’extension incongruente et du risque que représente cette extension spécifique pour les multiples légitimités de la marque humaine. Face à cette problématique, nous proposons d’étudier les mécanismes de perte et de gain de légitimités du réalisateur de film déclenchés par la sortie d’un film incongruent. En adoptant un design mixte, cette recherche montre que l’extension incongruente représente un risque de perte de légitimité moins élevé pour la marque humaine que l’extension modérément incongruente ou l’extension congruente. Et elle montre également que l’extension incongruente représente une opportunité de gain de légitimité plus élevé que les deux autres formes d’extensions. Cette thèse se conclut en soulignant que les processus de gain et de perte de légitimités constituent les dynamiques sous-jacentes des parcours professionnels des marques humaines et que suivant les mécanismes révélés, ces parcours professionnels peuvent être stratégiquement élaborés. / Marketing research has begun tracing the contours of a human brand concept. The subsequent issue of human brand extension arises as branded individuals (such as movie directors) can be seen moving forward in their careers. The question of incongruent human brand extension is particularly important because the social existences of these branded individuals depend on the legitimacy they hold in regards to various key constituencies (internal members of the industry, critics, the general public). And incongruent human brand extensions can represent a threat for these various legitimacies. We choose to look into this question by studying the mecanisms of movie director legitimation which are unleashed by incongruent film extensions. We use a mixed design method. And we demonstrate that human brands risk loosing less legitimacy with an incongruent extension than with a moderately incongruent extension or with a congruent extension. We also find that human brands can earn more legitimacy with an incongruent extension than with a moderately incongruent extension or with a congruent extension. This doctoral research highlights that the mecanisms by which branded individuals gain or loose legitimacy are the underlying dynamics of their career paths. And by providing insight into these mecanisms, this work shows that these career paths can be undertaken strategically.

Este trabalho apresenta o roteiro do longa-metragem Uma Bicicleta, Minha Mãe e Dois Cinemas, que aborda o cotidiano de uma família que mora e trabalha em um cinema de bairro em Curitiba. Paralelamente ao roteiro, foi desenvolvida uma pesquisa sobre a história dos cinemas de rua de Curitiba, privilegiando depoimentos de profissionais que trabalharam na atividade exibidora. Os relatos influenciaram o formato final da dramaturgia, fornecendo indicações para a criação de personagens e situações, delimitando ainda as épocas onde acontece a estória. O roteiro resulta, portanto, em um tratamento ficcional dos testemunhos obtidos, à medida do possível o mais próximo dos relatos obtidos. A dramaturgia é aplicada na transposição do relato para o universo ficcional. / This paper presents the script of the Uma Bicicleta, Minha Mãe e Dois Cinemas, which addresses the life of a family who lives and works in a cinema district in Curitiba. Parallel to the script, it was developed a research on the history of movie theaters of Curitiba, favoring testimony from professionals who worked in the exhibitor business. The reports influenced the final form of the drama, providing directions for creating characters and situations, limiting even the times where the story happens. The script is, therefore, a fictional treatment of the evidence obtained, the closest to the reports obtained. Dramaturgy is applied in the transposition of the report to the fictional universe.

This study has analysed the dialogue in two of the oldest Disney animated movies with a princess in the lead role, Cinderella from 1950 and Sleeping beauty from 1959 and compared them with their new live action remakes, Cinderella from 2015 and Maleficent from 2014, from a gender perspective. The purpose was to find out if there has been a change in the way the princess was shaped based on their personality and their relation with the prince. Selected scenes have been transcribed from the four films and through a qualitative content analysis they have been coded based on a code scheme.   The analysis has been based primarily on Rönnberg's theory of feminine role types in film and Yvonne Hirdman's gender contract. Davies 'previous research on stereotypes in fairy tales and England, Descartes and Collier-Meek and Hine´s et al. study about gender in Disney movies through the ages also support the interpretations of the analysis'. The results show that both of the older animated films portray the princesses based on a more stereotypical image of women and from a perspective where men are superior and the heroes in the story.   In the live action movies, the stereotypical feminine image of the princesses has developed. In Cinderella, the main character develops during the film. At first the main character Ella shows similarities with the classic Cinderella which is very gender stereotypical. During the film, the character of Ella changes and in the end, she finally dares to stand up for herself which is a big change compared to the classic movie. In Maleficent, on the other hand, Princess Aurora is portrayed in a completely different way compared to classic Sleeping Beauty. This movie shows a side that is not as stereotypically feminine. Aurora is not saved by a prince, she is curious and dreaming of taking over the magical land that Maleficent comes from. The change you can see in the result indicates a social change in the way of how men and women are viewed. The live action movies show a world where women are allowed to take more space, be strong for themselves and have dreams that do not involve a prince. / Den här studien har analyserat dialogen i två av de äldsta animerade originalfilmerna från Disney med en prinsessa i huvudrollen, Askungen från 1950 och Törnrosa från 1959. Därefter har de jämförts med deras nyutgivna spelfilmer, Berättelsen om Askungen från 2015 och Maleficent från 2014, ur ett genusperspektiv. Syftet var att undersöka om det skett en förändring i hur prinsessans personlighet och hennes relation med prinsen gestaltas mellan filmerna. Utvalda scener har transkriberats från de fyra filmerna och genom en kvalitativ innehållsanalys har de kodats utifrån ett kodschema.     Analysen har därefter baserats framförallt på Rönnbergs teori om feminina rolltyper i film samt Yvonne Hirdmans genuskontrakt. Davies tidigare forskning om stereotyper i sagor samt England, Descartes och Collier-Meek och Hines et al. studie om genus i Disneyfilmer genom tiderna stöttar också analysens tolkningar. Resultatet visar att båda de äldre animerade filmerna gestaltar prinsessorna utifrån en mer stereotyp bild av kvinnor samt utifrån ett perspektiv där männen är överordnade och hjälten i historien.   I de nya spelfilmerna har den stereotypa feminina bilden av prinsessorna utvecklats. I Berättelsen om Askungen utvecklas huvudkaraktären under filmens gång. Huvudkaraktären Ella visar till en början stora likheter med den klassiska Askungen som är väldigt könsstereotypiska. Under filmens gång får man följa en förändring i Ella och i slutet vågar hon äntligen stå upp för sig själv vilket är en stor förändring i jämförelse med den klassiska filmen. I Maleficent däremot, gestaltats prinsessan Aurora på ett helt annat sätt i jämförelse med klassiska Törnrosa. Filmen visar en sida av Aurora som inte är lika stereotypiskt feminint. Aurora blir inte räddad av en prins, hon är nyfiken och drömmer om att själv ta över det magiska landet som Maleficent kommer ifrån. Den förändring man kan se i resultatet tyder på en samhällelig förändring i hur man ser på män och kvinnor där kvinnor tillåts ta mer plats, vara starka i sig själva och ha drömmar som inte involverar en prins.

Diploma thesis is entitled, "Collective Evaluation of Quality of Movie and Serial Production of Czech-Slovak Movie Database on http://www.csfd.cz". The main focus of this thesis is on the aggregated evaluation study of quality of movies in several internet movie databases, primarily in CSFD and IMDb. The study also defines these internet databases in the context of social discourse, briefly informs about the history of these databases, and introduces the reader into their functioning. Additionally concerning the quality of movies, databases represent the main authority, and sorting of the movies according to their 'colour' in CSFD is considered a form of agenda-setting. This study discusses the issues of quality, through analysis in an attempt to determine the quality of movies on the database. Much of the thesis discussion revolves around the author's research, which was carried out from September 2011 till the end of March 2012. Unfortunately, because of the extent of diploma thesis and the methodology used in the research, it was not possible to analyze serial production in more detail.

Each year, only around 10% of the produced films will go to theatrical release, and 90% of the produced films might be the missing jewels lost in time. In Taiwan, movie distributors will act as this filter role to find out those 10% films. In this case, we will introduce the basic knowledge of the industry and discuss the evaluation process of the distributors and at the end reaching our conclusions and suggestions.