Made available in DSpace on 2014-07-29T16:27:57Z (GMT). No. of bitstreams: 1 Raquel Espada era a lei visualidades.pdf: 1738540 bytes, checksum: 5084332c08cc5a49e84c6eba08a24b83 (MD5) Previous issue date: 2008-12-17 / The insertion of images in the most diverse fields of society has intensified and the educational plan has been a clear source of knowledge, exactly, and potential subjectivities of exploder they provide. As educator (as) the search for improved processes of learning is required of us growing commitment to training and hence to the research in this direction and this work will comply with that role because it was through a deepening of the relationship between images and the subjectivities that they raised as a key to the production of knowledge is that this was necessary for me. Thus, the quest for understanding the educational potential of images and more specifically the moving image in education is the focus of this work in order, to see if the images of the film The Sword was the law raise in teachers visuality of practice teaching, or what would be perceptive of the contributions of each subjective universe (a) one (s) with respect to the visuality of practice teaching in the film / A inserção das imagens nos mais diversos campos da sociedade tem se intensificado e no plano educacional tem se mostrado fonte inequívoca de conhecimento, exatamente, pelo potencial deflagrador de subjetividades que elas propiciam. Como educador(as) a busca pela melhoria dos processos de aprendizagens tem exigido de nós cada vez mais o compromisso com a formação e, consequentemente, com a pesquisa e neste sentido este trabalho vem cumprir com esse papel pois, foi através de um aprofundamento sobre as relações entre as imagens e as subjetividades por elas levantadas como elemento chave para a produção de conhecimento é que este se fez necessário para mim. Assim, a busca pela compreensão do potencial educativo das imagens e mais especificamente das imagens em movimento na educação é o foco deste trabalho no intuito, de perceber se as imagens do filme A Espada era a lei suscitariam nos professores visualidades da práxis pedagógica, ou quais seriam as contribuições perceptivas do universo subjetivo de cada um(a) delas (es) com relação às visualidades da práxis pedagógica presentes no filme

Made available in DSpace on 2014-07-29T16:27:58Z (GMT). No. of bitstreams: 1 Dissertacaoo Aline Soares Lima.pdf: 6312597 bytes, checksum: dcf48198d022656685ddd224abba21e7 (MD5) Previous issue date: 2009-07-07 / This study investigates the self representations of transvestites in orkut and constitutive elements of their (cyber)identities, having the visuality as the focus and determinant axis. For this, the emphasis is given to pictures and self portraits, present in albums of their profiles on the site. We are interested in understanding what is the image they construct of themselves from physical reconstructions, aesthetic formulations, costumes, scenery, performances and a whole network of symbolic meaning which is important for them. Orkut, like many other social environments of the internet, comprehends speeches and narratives of individuals and social groups that describe, identify and represent themselves of the most varied ways and with the most diverse goals and interests. In order to understand how the self representations of transvestites are built on orkut, it was investigated initially some communities with trans thematic, then it was selected the profiles of two transvestites, with whom interviews were also conducted. Although this study focuses on the self representations in the orkut, other environments in cyberspace have been researched, as blogs and sites for transvestites. We conclude that there are multiple ways to represent transvestitely, not just the stereotypical, stigmatized and marginalized representations widespread by the media / Esse estudo investiga as autorrepresentações de travestis no orkut e os elementos constitutivos de suas (ciber)identidades, tendo como foco e eixo determinante a sua visualidade. Para isso, a ênfase é dada aos retratos e autorretratos, presentes nos álbuns de seus perfis no site. Interessa-nos entender qual é a imagem que constroem de si a partir de reconstruções corporais, de formulações estéticas, vestimentas, cenários, performances e de toda uma rede de significação simbólica que para elas importa. O orkut, assim como tantos outros ambientes de sociabilidade na internet, comporta discursos e narrativas de indivíduos e grupos sociais que se descrevem, se identificam e se autorrepresentam das mais variadas maneiras e com os mais diversos objetivos e interesses. Para compreender como se constituem as autorrepresentações de travestis no orkut, investigou-se inicialmente algumas comunidades com temática trans, selecionando-se em seguida os perfis de duas travestis, com as quais foram realizadas também entrevistas. Embora esse estudo focalize as autorrepresentações presentes no orkut, outros ambientes no ciberespaço foram pesquisados, como blogs e sites de travestis, para estabelecer um diálogo mais abrangente. Assim, o que se pode perceber é que há uma pluralidade de existências e representações possíveis das travestilidades, diferentemente do que as representações estereotípicas, estigmatizantes e marginalizantes, provenientes de distintas instituições sociais, sobretudo das mídias, podem fazer crer

Made available in DSpace on 2014-07-29T16:28:00Z (GMT). No. of bitstreams: 1 RONNEdissertacao.pdf: 598471 bytes, checksum: 90574c7c9848b1126a429865f6b02a33 (MD5) Previous issue date: 2009-12-15 / This study has its focus on the masks of the feast of St. James of Mazagão Velho in the state of Amapá - Brazil. Held since 1777 by the residents of the city in the margins of the Mutuacá River, the feast celebrates the transfer of the former Portuguese colony from the Dukkala region, in the North of Africa. Full of rich and diversified visualities, rituals and symbols of Catholicism, the community lives with intensity its cultural and religious manifestations. The masks are distinguished during a ball exclusive for masked individuals and, in this study they are analyzed from the perspective of visual culture as visual artifacts. The research aims to build interpretations on the relations between mask and identity, observing and discussing the learning processes connected to the production and use of the masks in the symbolic context of the feast. The work also investigates the meanings of possible points of infiltration, resistance and hybridization that the masks present originated from a multicultural community formation and the influences of a global world. The text is built taking into consideration the multiple interpretations of the research participants that, through open interviews, recollect and reconstruct histories of the cultural and oral memory of the city / Esta pesquisa tem como objeto de estudo as máscaras da Festa de São Tiago de Mazagão Velho, no estado do Amapá. Realizada desde 1777 pelos moradores da cidade amapaense às margens do rio Mutuacá, a festa celebra a transferência da ex-colônia portuguesa da região de Dukkala, ao norte da África. Repleta de visualidades diversificadas, rituais e símbolos do catolicismo, a comunidade vive com intensidade suas manifestações culturais e religiosas. As máscaras ganham destaque durante um baile exclusivo para brincantes mascarados e, neste estudo, são analisadas como artefatos visuais a partir da perspectiva da cultura visual. A pesquisa visa construir interpretações sobre relações entre máscara e identidade, observando e discutindo processos de aprendizagem ligados à feitura e utilização das máscaras no contexto simbólico da festa. O trabalho investiga, também, os significados de prováveis pontos de infiltração, resistência e hibridização que as máscaras apresentam em decorrência da formação multicultural da comunidade e das influências do mundo globalizado. O texto é construído a partir de múltiplas interpretações dos colaboradores da pesquisa que, através de entrevistas abertas, revisitam e reconstroem histórias da memória oral e cultural da cidade

Submitted by Jaqueline Silva (jtas29@gmail.com) on 2014-10-02T18:36:37Z No. of bitstreams: 2 Dissertação - Virginia Perini Peralta Cunha - 2013.pdf: 6755250 bytes, checksum: 72152134627d53afcb2faef747e9e7bd (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-02T19:01:11Z (GMT) No. of bitstreams: 2 Dissertação - Virginia Perini Peralta Cunha - 2013.pdf: 6755250 bytes, checksum: 72152134627d53afcb2faef747e9e7bd (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-02T19:01:11Z (GMT). No. of bitstreams: 2 Dissertação - Virginia Perini Peralta Cunha - 2013.pdf: 6755250 bytes, checksum: 72152134627d53afcb2faef747e9e7bd (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-03-26 / The text consists of a investigation report in which I sought to make possible dialoges between images of school routine extracted from printed media and a group of students from a state school of Goiânia. From these encounters, I tried to narrate episodes and inquirement that delineate everyday school experiences on a contemporary school. I start from personal inquietude about the use of media materials in pedagogic activities and redirect them using indications which emerge from the cohabit with subjects from the camp-school. With those indications, I investigated discussions related to media as culture matrix in the contemporary society, its limits and its possibilities. Looking into an insider narrative by experience from the view from visual culture concepts, I commited to share different meanings of experiment the schooling process nowadays. I enclose the report with another possible discussion about media, now built up by attemped episodes between narrators and collaborators. / O texto consiste no relato de uma investigação em que procurei possibilitar diálogos entre imagens de cotidiano escolar extraídas de uma mídia impressa e um grupo de alunos de um colégio estadual de Goiânia. A partir desses encontros, procurei narrar episódios e problematizações que delineam experiências de cotidiano escolar numa escola contemporânea. Parto de inquietações pessoais sobre a utilização de materiais de mídia em atividades pedagógicas e as reoriento a partir de pistas que emergem do convívio com os sujeitos da escola campo. Com essas pistas investiguei discussões no campo da mídia como matriz de cultura na sociedade contemporânea, seus limites e suas possibilidades. Investigando uma narrativa informada pela experiência do olhar a partir de conceitos de cultura visual, me comprometi a compartilhar outros sentidos da experiência de escolarização na atualidade. Encerro o relato com um retorno de outra possível discussão sobre mídia, agora tecida pelos episódios vividos entre e narrados pelos colaboradores.

O presente trabalho é resultado de uma experiência pedagógica sobre a utilização e a produção de filmes nas aulas de História, realizada entre os anos de 2007 e 2008, com alunos do 9o ano do ensino fundamental de duas escolas da rede particular de São Paulo. Durante este período, a produção cinematográfica foi utilizada de duas maneiras: como objeto de análise e como modalidade narrativa. Na primeira, o objetivo foi a alfabetização do olhar; as obras foram exploradas em seus elementos constitutivos enredo, personagens, trilha sonora, cenários, montagem, tomadas de câmera, símbolos presentes nas cenas etc. , abordando-os tanto individualmente como de modo relacional e estudando seu papel na construção de uma narrativa coesa. Na segunda, os alunos produziram um filme ficcional, tendo como recorte histórico os governos de Getúlio Vargas e utilizando os estudos a respeito dos recursos do cinema como linguagem nas várias etapas da produção: seleção de recorte temático, elaboração de um discurso e sua transformação em um roteiro possível construção do enredo, personagens e elementos de cena , filmagem, seleção da trilha sonora, montagem, colocação dos créditos. A técnica escolhida foi o sequenciamento de imagens por computador, por ampliar as possibilidades de criação para além da atuação de pessoas na tela, bem como por favorecer a utilização de mídias na escola. Diante da rigidez da constituição de um currículo para o ensino de História, que afasta o aluno de sua ação social, pôde-se perceber que a realização deste trabalho permitiu que tivessem uma leitura mais aberta da História, ampliando o seu repertório frente ao ensino e à escola, pois nos filmes, mesmo quando aparentemente havia uma reiteração de uma memória de reprodução de informações, notava-se a presença de mensagens aludidas e até alegóricas, ou seja, a crítica foi potencializada por meio da especificidade da linguagem do cinema. O resultado não foi a relativização do ensino de História, e sim a realização de um exercício através do qual, a partir da realidade presente e das representações que os alunos possuíam ou adquiriram no interior e fora da escola, houve uma valorização do conhecimento. / The present work is the result of a pedagogic experiment on uses and production of movie pictures in History classes, undergone between 2007 and 2008, with fundamental grades 9th level students of two private schools in Sao Paulo. During this period, cinematographic production was used in two ways: as an object for analysis and as a narrative resource. In the first one, education of the glance was the goal; film works constitutive elements were explored screen plot, personages, soundtrack, scenarios, editing, camera views, symbols present at scenes etc. , treated both individually and relationally, and studying their role on building a cohesive narrative. In the second one, students made a fictional film, having Getulio Vargas government period as a frame and using their knowledge on filmmaking elements in all stages of production: selection of thematic frame, elaboration of a speech and its transformation into a possible screenplay building the plot, personages and scene elements , filming, selection of soundtrack, editing, credits. The chosen technique was image sequencing by computer, for it enhances creation possibilities beyond peoples acting on a screen, as well as it favors the use of media in school. Given the rigidity on establishing a curriculum for History teaching, in which students are set apart from their social action, it was observed that this work has enabled them to have a more open-minded History reading, expanding their repertoire in terms of the learning process and the school, for in their films, even when apparently there was a reiteration of a memory of information reproduction, we noted the presence of alluded and even allegoric messages, that is, criticism was enhanced by means of the specificity of cinema language. The result was not to relativize History teaching, but to perform an exercise which, from present-day reality and from representations that students had or had gained inside and outside the school, lead to a gain in the value of knowledge.

This dissertation comparatively analyzes the architectural and visual histories of two black churches as examples of the material contribution of African Americans to the nation’s built environment. As cultural repositories, Metropolitan African Methodist Episcopal Church (AME) (1881-1886), Washington, D.C., and the Shrine of the Black Madonna #1, Pan African Orthodox Christian Church (1925/1957), Detroit, MI, are two sites that represent distinct forms of Black Nationalism. The history of Metropolitan AME uncovers aspects of late nineteenth century Classical Black Nationalism cultural practice. The Shrine of the Black Madonna #1 reflects the revisionist agenda of the Black Cultural Nationalist Movement of the 1960s and 1970s. The objective of this study is to expand through a cultural lens the growing body of scholarship that seeks to excavate under-recognized African-American visual and architectural traditions. This study contrasts different modes of claiming space for cultural affirmation: construction and real estate acquisition. Chapter one offers a rationale for the artifactual interrogation of African American churches and outlines the interdisciplinary methodologies employed in the case studies. In chapter two, Metropolitan A.M.E. Church’s architectural history presents an instance of an African American community using popular architectural and artistic styles in an associative manner to articulate racial advancement. Chapter three documents the aesthetic legacy of Metropolitan A.M.E. Church by considering the sanctuary’s stained glass window program, mural commissions executed by two rarely-discussed African American artists, donated art objects and the circulation of images of the religious site. Chapter four explores the Shrine of the Black Madonna #1’s 1957 purchase of a 1925 Colonial Revival ecclesiastical structure. This assessment contextualizes the lived interventions of a radical congregation to understand how shifts in material and visual patterns expressed cultural identity. Chapter five critically explores the aesthetic history of the Shrine of the Black Madonna #1 that begins with the Black Madonna and Child (1967) chancel mural by Glanton V. Dowdell. As the conclusion indicates, African American churches contain visible but hidden histories that expand African American art by introducing new iconographic considerations and revealing new art communities.

As an art educator, I found student art lacking in meaning and students lacking personal engagement. I sought a way to engage students in more meaningful art-making in the classroom by exploring family heritage and personal spaces. This case study searched the family heritage and personal spaces of students in a junior high art class to engage students and find deeper meaning and context for student art-making. The research was informed through an arts-based inquiry with a/r/tographic influence. It was a qualitative inquiry, mining the familiar for development of a curriculum rich in context and personal significance for students. This inquiry examined the influences of family through art-making and research into the visual culture of student homes and heritage. We curated our personal spaces and made art that reflected our findings, keeping reflexive journals of our experiences, and exhibiting our art in a culmination of our research. The results were meaningful content in student art as well as more enthusiastic engagement in the art making process. This experience gleaned more than just student art rich in meaning, but in a deeper understanding of one another in our classroom.

This dissertation excavates the work of early special effects cinematographer Norman O. Dawn in order to explore film spectatorship, the ephemerality of the cinematic image, and motion picture preservation and archival practices. Best known for his innovations of glass and matte shot techniques, Dawn produced 861 composite images while working in the U.S. film industry between 1906 and 1954. Although technological film historians acknowledge the importance of Dawn’s innovations to the development of motion picture special effects, the composite images themselves as well as the films for which they were produced remain in relative obscurity. Rather than attempting to recover these objects for inclusion in an existing film canon, my research interrogates their obscurity by analyzing Dawn’s special effects processes against the broader economic concerns that inform the dominant practices of the US film industry during the first half of the twentieth-century. My research begins with the Norman O. Dawn collection housed at the Harry Ransom Humanities Research Center, which is the most comprehensive historical record of Dawn’s work in the film industry. Constructed by Dawn himself between 1962 and 1974, this collection consists of 164 poster-sized collages of archival ephemera that illustrate the special effects processes employed in the production of 235 composite images for eighty-five films. While these eighty-five film titles constitute a tentative corpus upon which to base my research, seventy of these films are lost, which raises questions concerning the relationship between motion picture preservation and film history, specifically why these films have not been preserved while others have and to what extent the economic imperatives of the film industry have determined these conditions. I address these questions in my analysis of archival material related to these films, finding that they traverse several distinct domains of film practice—including early scenic footage for newsreels and the amusement park ride Hale’s Tours of the World, early one-reel travel films, silent-era studio shorts, serials, and B features, and poverty row and independently-produced silent and sound feature-length films—thereby situating Dawn’s special effects at the intersection of the early and contemporary cinematic modes often aligned in studies of cinematic special effects. I argue that this heterogeneous corpus points to a studio-era Hollywood cinema alternative to the classical model, largely forgotten because it is dominated by low-budget product intended to supplement more costly feature films. In contrast to the classical model, this alternate cinematic mode emphasizes the scenic and thrilling elements that characterize both early exhibitionist films and contemporary effects-driven blockbusters. In this context, Dawn’s special effects processes constitute a historically marginalized practice precisely because they are non-routine techniques that provide cost-effective means to produce otherwise economically infeasible scenes, and, as such, operate on the periphery of conventional film production.

<p>Because of the mass tourism industry that exploits sensitive locations all over our planet a new kind of tourism came into focus in the 1980’s. This new form of tourism was named ecotourism, and as the name reveals ecotourism deals with low-impact travel. Today, all sorts of places can be gazed upon in a flick of a switch; all you need is a television set. It is well known that destination marketing successfully uses visual media as a tool to sell trips to potential tourists. Therefore, this essay examines how ecotourism benefits from the great power of the television. The analyzed material contains of six different TV shows, sorted into two groups – travel shows and discussion programs. With the theory of the tourist gaze, semiotics, destination marketing and the experience economy the study resulted in the conclusion that all TV shows are built upon collective cultural representations found in the exotic and the authentic. With the help of the visual language, travel shows can give new meaning to a specific destination expressed in a system of mutual understanding and shared culture.</p>

Because of the mass tourism industry that exploits sensitive locations all over our planet a new kind of tourism came into focus in the 1980’s. This new form of tourism was named ecotourism, and as the name reveals ecotourism deals with low-impact travel. Today, all sorts of places can be gazed upon in a flick of a switch; all you need is a television set. It is well known that destination marketing successfully uses visual media as a tool to sell trips to potential tourists. Therefore, this essay examines how ecotourism benefits from the great power of the television. The analyzed material contains of six different TV shows, sorted into two groups – travel shows and discussion programs. With the theory of the tourist gaze, semiotics, destination marketing and the experience economy the study resulted in the conclusion that all TV shows are built upon collective cultural representations found in the exotic and the authentic. With the help of the visual language, travel shows can give new meaning to a specific destination expressed in a system of mutual understanding and shared culture.