Made available in DSpace on 2016-04-27T18:47:13Z (GMT). No. of bitstreams: 1 Denise Salvador Morante Mazzaferro.pdf: 1984753 bytes, checksum: f9922c5250fbd0a7e5257592bd0cf925 (MD5) Previous issue date: 2013-09-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Statistics reveal that in 2050 Brazil will have more than 260 million, of which approximately 14 million will exceed the barrier of 80 years of age, materializing the phenomenon of longevity, agequake . Living in a consumer society, currently seniors travel, all around the world, visiting cities and museums, take computer courses, play sports, increasingly being the target of consumer markets. Today, the elderly Brazilians have a potential of consumption of R$ 7.5 billion, double of the national average. Considering that advertising, consumer and mass culture reflect and explain certain key features of modern-contemporary culture, this research aiming to show - in the current Brazilian socio-economic context - how advertising agencies and their clients portray the elderly public in their campaigns. Along these lines, 13 commercials that had the elderly as protagonists were selected as the focus of a critical analysis that investigated which concepts of elderliness were portrayed. The methodology chosen to develop this research was content analysis with the intent of, based on the identified cognitive units that compose the communication, transcend the reach of simply descriptive message, to reach a wider interpretation. Recurring themes were highlighted in the 13 films: - seven of them focused on the relationship between the elderly and technology; in three of them the elderliness was associated with memory, credibility, history and past - one, beauty or "no possibility of beauty" in old age, and two showed, the relationship between grandparents and grandchildren. The discussion of how these themes were used by advertisers and how they reinforce the stigmas and prejudices was the purpose of this research, presenting other possible representations of seniors and aging. It also points out where adjustments in communication are necessary in order to better portray aging, reinforcing it as one of the stages of life, with its unique features and full of possibilities / As estatísticas revelam que o Brasil terá mais de mi es de a itantes em , dos quais cerca de mi es u tra assarão a barreira dos 80 anos, concretizando o fenômeno da ongevidade . Vivendo na sociedade de consumo, os seniores viajam, partem para o outro extremo do mundo, visitam cidades e museus, fazem cursos de informática, praticam esporte, sendo cada vez mais alvo de mercados de consumo. Hoje, os idosos brasileiros têm um potencial de consumo de R$ 7,5 bilhões, o dobro da média nacional. Baseando-nos na ideia de que a publicidade, o consumo e a cultura de massa, refletem características fundamentais da cultura moderno-contemporânea, esta pesquisa procurou examinar como as agências de publicidade e seus clientes retratam o público idoso em suas campanhas. Desse modo, 13 filmes publicitários, foram submetidos a uma análise crítica. A metodologia escolhida para desenvolver tal pesquisa foi a análise de conteúdo com a intenção de, mediante a descoberta dos núcleos de sentido que compõem a comunicação, ultrapassar o alcance meramente descritivo da mensagem, com a intenção de atingir uma interpretação mais ampla. Foram destacados os temas recorrentes nestes filmes: sete focalizam a relação velho/ tecnologia; três, a velhice é marcada como o tempo de memória, de credibilidade, de história e passado; um, a e eza ou a não ossi i idade de e eza na ve ice e, dois, a avosidade - relação entre avós e netos. Os referidos temas utilizados pelos anunciantes foram aprofundados na interlocução com teóricos, permitindo questionar estigmas e preconceitos relativos às representações de velhos e velhices. Considera-se, que adaptações sejam necessárias na comunicação, a fim de retratar melhor o envelhecimento, reforçando-o como uma das fases da vida, com suas características únicas, repleta de possibilidades

Cette version de la thèse a été tronquée de certains éléments protégés par le droit d’auteur. / Our study explores the musical universe of French animation during the first two decades of sound cinema, with the aim of showing the extent of a phenomenon that has never been studied in its entirety. The context of the era is characterized by the participation of a considerable number of “art music” composers, whose contribution to animation constitutes a lesser-known aspect of their career. Through the study of unpublished archival documents and press articles of the time, the subject is approached mainly from a historical perspective, in order to situate apparently exceptional cases in the context of the artistic networks that allowed the creation of these works. The thesis is constructed following a chrono-thematic plan. In our history, we integrate elements of film music analysis to illustrate emblematic cases of the different tendencies of the time. The study of the period 1930–1939 highlights the “artisanal” aspect of the productions of the time. Our attention focuses specifically on lesser-known cases, including those of Jean Françaix and Pierre Vellones. The second chapter is devoted to director André Vigneau and his collaboration with Henri Cliquet-Pleyel. Our exploration continues with the study of two iconic pre-war films: La Fortune enchantée by Pierre Charbonnier (music by Henri Sauguet) and Barbe Bleue by René Bertrand (music by Maurice Jaubert). In addition, we focus on “auteur” animated advertising films and the work of Alexandre Alexeïeff, marked by his collaboration with Poulenc, Auric, Milhaud and Roland-Manuel. Another key figure in French animation is the composer Jean Wiéner, to whom we devote a monographic chapter, which details his collaboration with the animator Paul Grimault. Our study of the Vichy era (1940–1944) focuses on the growing role of the state in financing animated films. This trend is illustrated by two emblematic cases of “highbrow” cartoons: Callisto, la petite nymphe de Diane by André-Édouard Marty (music by Honegger and Roland-Manuel) and La Chasse infernale by Jean and Alex Giaume (music by Tony Aubin). Finally, in the last chapter, we examine the post-war years and, most notably, a forgotten composer of film music, Guy Bernard. On the other hand, if André Jolivet is far from being forgotten, the cartoon music he composed during the 1940s represents a largely unknown part of his career. / Notre étude explore l’univers musical de l’animation française au cours des deux premières décennies du cinéma sonore, dans le but de montrer l’ampleur d’un phénomène qui n’a jamais été étudié dans son ensemble. Le contexte de l’époque se caractérise par la participation d’un nombre considérable de compositeurs et compositrices de musique « savante », dont le cinéma d’animation constitue un aspect encore peu connu de leur carrière. À travers l’étude de documents d’archives inédits et d’articles de presse de l’époque, le sujet est abordé principalement dans une perspective historique, afin de situer des cas apparemment exceptionnels dans le contexte des réseaux artistiques qui ont permis la création de ces œuvres. La thèse est construite en suivant un plan chrono-thématique. Au cours de notre histoire, nous intégrons des étapes d’analyse musico-filmique qui illustrent des cas emblématiques des différentes tendances esthétiques de l’époque. L’étude de la période 1930–1939 met en évidence l’aspect « artisanal » des productions de l’époque. Notre attention porte spécifiquement sur des cas peu connus, dont ceux de Jean Françaix et de Pierre Vellones. Le deuxième chapitre est consacré au réalisateur André Vigneau et à sa collaboration avec Henri Cliquet-Pleyel. Notre exploration continue à travers l’étude de deux films iconiques d’avant-guerre : La Fortune enchantée de Pierre Charbonnier (musique d’Henri Sauguet) et Barbe Bleue de René Bertrand (musique de Maurice Jaubert). Une importance particulière est accordée au cinéma d’animation publicitaire « d’auteur » et à l’œuvre d’Alexandre Alexeïeff, marquée par la collaboration avec Poulenc, Auric, Milhaud et Roland-Manuel. Une autre figure clé du dessin animé français est le compositeur Jean Wiéner, auquel nous consacrons un chapitre monographique qui examine particulièrement sa collaboration avec Paul Grimault. Pour la période de l’Occupation (1940–1944) nous évoquons le rôle croissant de l’État dans la subvention de films d’animation. Cette tendance est illustrée par deux cas de dessins animés « savants » : Callisto, la petite nymphe de Diane d’André-Édouard Marty (musique d’Honegger et Roland-Manuel) et La Chasse infernale de Jean et Alex Giaume (musique de Tony Aubin). Nous terminons sur un panorama de l’immédiat après-guerre, notamment autour d’une figure oubliée de la musique de film, Guy Bernard. En revanche, si le nom d’André Jolivet est loin d’être oublié, ses musiques de dessins animés des années 40 représentent un aspect méconnu de son œuvre.