Orientador: Nuno César Pereira de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:10:45Z (GMT). No. of bitstreams: 1 Santos_ChristineVillados_M.pdf: 1220701 bytes, checksum: b4f515df2830000b5897bfb2433ad687 (MD5) Previous issue date: 2006 / Resumo: A proposta da presente pesquisa resume-se na análise de dois documentários de Vladimir Carvalho produzidos no início dos anos 80. O Homem de Areia, de 1982 e O Evangelho segundo Teotônio, de 1984; destacam-se na filmografia do diretor por não se centrarem numa coletividade de anônimos como seus filmes anteriores e sim em biografias de duas personalidades públicas e eminentemente políticas: José Américo de Almeida e Teotônio Vilela. Atentando-se para estes dois filmes, a análise se direciona para essa mudança de foco - do popular ao público, partindo de uma revisitação à trajetória filmográfica do autor até chegar à estrutura formal resultante destes dois filmes. A instrumentalização de uma figura pública para se abordar todo um processo sócio-histórico que já vinha sendo questionado nos filmes anteriores; bem como a evolução de toda uma sistemática de produção que estes filmes puderam encampar, constituem a tônica deste estudo. / Abstract: The purpose of this research is to analyze two Vladimir Carvalho's documentaries produced on the early 80's. The Sand's Men, 1982 and The Evangelic according to Teotonio, 1984; they stand out on the director's filming, because they do not focus on anonymous people like his previous movies, instead they focus on the biography of public figures and eminently politics: José Américo de Almeida and Teotônio Vilela. Observing the two films, the analysis goes towards this change on focus - from the popular to the public, starting from the revisit on the filming course from the author until the formal structure resulting from the two movies. The utilization of public figure to approach the social-historical process that were being questioned on the previous movies; as well the production system that the movies used, compose the target of this study. / Mestrado / Mestre em Multimeios

Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T18:57:15Z (GMT). No. of bitstreams: 1 Brugnaro_AmabileCristina_M.pdf: 992343 bytes, checksum: 72d5b1e94df9b047ba3be1b35bef19d7 (MD5) Previous issue date: 2005 / Résumé: Le documentaire du photographe et cinéaste Johan Van Der Keuken est l'objet d'étude de cette dissertation de maîtrise, surtout son dernier film ¿V acances Prolongées¿, qui montre la sensibilité humaine devant la mort. Cette synthèse montre la signification entre l'image et le son, des éléments essentiels pour les remarques d'une réflexion; on a essayé de mettre en relief le travail de ce cinéaste contemporain qui a bien su exprimer le Beau à travers les notes et les enregistrements de ses voyages; en nous faisant participer de son angoisse devant les images appellées par lui les ¿fragments de son existence¿ / Resumo: A obra documentária do fotógrafo e cineasta holandês Johan Van Der Keuken é o objeto de estudo nessa dissertação de mestrado, sobretudo seu último filme: ¿Férias Prolongadas¿, que trata da sensibilidade humana diante da morte e do morrer. Nesta síntese sobre a significação entre a imagem e o som, elementos fundamentais para apontamentos de uma reflexividade, procuramos evidenciar o trabalho deste precioso documentarista contemporâneo que tão bem soube expressar o belo, através dos registros de suas viagens, como também nos inserir em sua angústia diante das imagens que denominou como os ¿fragmentos da sua existência¿ / Abstract: The documentary work of Johan Van Der, Dutch photographer and film producer , is an object of study in this master degree assignment focused mainly on his last movie: 'The Long Holiday' that deals with the human sensitivity to death and dying. In this summary, about the significance between the image and sound which are crucial for reflexivity, we tried to highlight the work of this contemporary and brilliant documentary practitioner who not only depicted the ¿Beauty¿ so splendidly through his trips records but also placed us inside his sorrow which he determined as ¿fragments of his own existence.¿ / Mestrado / Mestre em Multimeios

Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.

No description available.

No description available.

Thesis (PhD)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Since John Grierson first coined the term “documentary film” in the 1920s, there has been a debate about the objectivity or subjectivity of the filmmaker. Some theoreticians believe that a documentary filmmaker may not interact subjectively with her subject. Contemporary perspectives lean towards acknowledging the subjectivity of the filmmaker, and accept that subjectivity is intrinsic to the making of a documentary film. Some would even argue that it is precisely the subjectivity of the filmmaker – the meeting of an individual, subjective perspective with the pro-filmic world – that makes a particular film unique. Brecht believed that the structure of a theatre piece could be used to counter the audience's uncritical emotional engagement and identification with the content of the work. This Verfremdungseffekt enables the audience to engage intellectually with the work. The audience does not get lost in the content of the piece, but rather views it from a critical distance. Brecht believed that this distantiation does not exclude entertainment, but that the audience would be able to enjoy the production while viewing it from a critical, intellectual distance. The self-reflexive mode of representation is identified by Nichols as one of the primary ways for a filmmaker to engage with her subject. Self-reflexivity entails the inclusion of cues within the film reminding the viewer that it is, indeed, a film. The motivation for this is to make the audience aware of the constructed nature of the film, thereby acknowledging the subjectivity of the filmmaker. The most overt form of self-reflexivity in documentary films is the inclusion of the director in the film. The focus of this study is, however, more specifically on how editing devices can be used to foreground the construction of a film. Structural analysis of a selection of recent South African documentary films is undertaken as part of this study. The result of this in-depth analysis is a list of twenty-eight conspicuous, selfreflexive editing devices used in these films. To test the effect of self-reflexive editing devices, I purposely incorporated them into the construction of a documentary series, Booza TV, of which I was one of the editors. The goal of Booza TV is to change viewers' perceptions of alcohol and alcohol abuse. Both quantitative and qualitative research results pointed to the ability of the series to achieve this goal. The perception change, however, is not the focus of this study. Instead, findings specifically related to the viewer's experience of the editing of the production are analysed. These findings show that viewers do notice self-reflexive devices, that the devices can contribute to their enjoyment of the production and that self-reflexive devices are able to communicate subtext to the audience. The conclusion is drawn from the research conducted in this study that the potential of a documentary film to change viewers' perceptions is as dependent on the way the film has been constructed as it is on the content of the film. / AFRIKAANSE OPSOMMING: Sedert John Grierson in die twintigerjare begin het om die term 'dokumentêre film' te gebruik, word daar gedebatteer oor die objektiwiteit al dan nie van die filmmaker. Party teoretici glo dat 'n dokumentêre filmmaker nie subjektief mag omgaan met haar onderwerp nie. Kontemporêre perspektiewe neig egter om te erken dat die dokumentêre filmmaker subjektief is, dat subjektiwiteit intrinsiek is aan die maak van 'n dokumentêre film, en boonop dat dit juis die subjektiwiteit van die filmmaker is wat 'n film uniek maak. Dit is die ontmoeting van 'n individuele, subjektiewe perspektief met die waarneembare wêreld. Brecht het geglo dat die struktuur van 'n teaterstuk of film gebruik kan word om die gehoor se verbintenis met die inhoud daarvan te verbreek. Hierdie Vervremdungseffekt lei daartoe dat die gehoor in staat is om krities om te gaan met die produksie. Dit lei verder tot 'n kritiese interaksie met die materiaal. Die gehoor raak nie verlore in die inhoud van die stuk nie, maar slaag daarin om dit intellektueel te beskou. Brecht het geglo dat hierdie vervreemding nie vermaak uitsluit nie, maar wel die gehoor toelaat om die teaterstuk of film te geniet terwyl hulle dit krities en intellektueel beskou. Die self-refleksiewe voorstellingsmodus word deur Nichols geïdentifiseer as een van die primêre maniere vir 'n filmmaker om met haar onderwerp om te gaan. Selfrefleksiwiteit behels die insluit van tekens binne 'n film dat dit 'n film is. Die motivering hiervoor is om die gehoor bewus te maak van die konstruksie van die film, om sodoende die subjektiewe perspektief van die filmmaker te erken. Die mees blatante vorm van self-refleksiwiteit in dokumentêre films, is die insluiting van die regisseur in die film. Die fokus van die studie is egter op die gebruik van redigeringstegnieke om die konstruksie van 'n film op die voorgrond te plaas. Daar word van strukturele analise gebruik gemaak in hierdie studie om 'n verskeidenheid hedendaagse Suid-Afrikaanse dokumentêre films in diepte te beskou. Die resultaat van hierdie analise is 'n lys van ag-en-twintig sigbare redigeringstegnieke wat in hierdie films gebruik is. Om die effek daarvan te toets, het ek doelbewus self-refleksiewe tegnieke gebruik in die konstruksie van 'n dokumentêre reeks genaamd Booza TV, waarvan ek een van die redigeerders was. Die doel van Booza TV is om gehore se persepsie aangaande drank en drankmisbruik te verander. Beide kwantitatiewe en kwalitatiewe navorsingsresultate het aangedui dat die reeks dié doel wel bereik. Persepsieverandering is egter nie die fokus van hierdie studie nie. In stede daarvan word daar in diepte gekyk na gehore se ervaring van die self-refleksiewe redigeringstegnieke in die produksie. Daar is gevind dat gehore self-refleksiewe redigeringstegnieke raaksien, dat die tegnieke kan bydra tot gehore se genot van die produksie, en dat die tegnieke gebruik kan word om subteks in die film te kommunikeer.

This documentary reveals the thoughts and feelings of seven Indian students at the University of North Texas, Denton, Texas. It portrays that better material comforts in the U.S. condition the decision of Indian students in not returning to India even after the completion of their studies. It also shows their feelings of nostalgia for the social and cultural milieu of their home country, India. For this project 18 Indian students at the University of North Texas were interviewed and seven of them became part of the final documentary.

This study sets out to explore the representations of disability in documentary films. Its starting point is that when such representations of disability films are under examination, one needs to take into consideration a level of complexities that come with disability, the construction and functionalities of representations, and more particularly the impact of documentary films on understanding disability. In order to address this issue, I draw upon disability theory and disability aesthetics, crip theory and crip willfulness, as well as practices of good looking, synthesising in this way a theoretical framework that responds to matters of intersectionality and criticality in relation to the analysis of representations of disability. To this end, I employ a mixed method design, which is based on participant observation, the methods of the written festival and a critical disability studies (crip) analysis for examining selected documentary films alongside a thematic analysis of semi-structured interviews that were conducted with disabled viewers who attended the Emotion Pictures – Documentary and Disability Film Festival in Athens, Greece. Its findings indicate that representations of documentary films familiarise viewers with disability. This familiarisation and the development of political engagement by depicting crip killjoys are the key elements that create representations of a different context and meaning in comparison to those produced by media and fiction films. My analysis reveals that depictions of crip killjoys who are conscious of their political identity, speak out and take action are depictions that ask for political engagement. As such, they can produce good staring. Visibility and social dialogue are two of the benefits of disability film festivals that are highlighted by disabled viewers.

"Gar Demia", es un documental que aborda el viaje de un paciente recién diagnósticado con la enfermedad de la Psoriasis, enfermedad inflamatoria y crónica de la piel, de origen autoinmune; en él se muestra desde mi perspectiva cómo voy encontrando personas en el camino que cuentan con el mismo diagnóstico, así mismo, se van presentando sus testimonios y dificultades de vivir con la enfermedad por el tiempo que lo lleven haciendo. / Trabajo de suficiencia profesional

Out of Date chronicles the filmmaker's personal journey as she tries to untangle her mixed feelings on singlehood and romance, and turns to the older generation for advice, tales of love and stories of success or failure. The documentary links and contrasts different generations' experiences in love and dating. Also, the film deals with loneliness, commitment, gender differences, and social and cultural practices of love and dating.