Made available in DSpace on 2014-06-11T19:26:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-23Bitstream added on 2014-06-13T19:13:40Z : No. of bitstreams: 1 defazio_ahp_me_assis.pdf: 1692517 bytes, checksum: 7e9cb3508e8a110d3480a0f807533dbb (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Temos no filme Viva Zapata! (1952) o eixo central desta pesquisa, através da qual buscamos iluminar as relações entre cinema, cultura e política norte-americana dos anos cinqüenta, além de questionar como este cinema forma uma visão sobre o outro – nesse caso, os mexicanos. Produzido e lançado nos Estados Unidos em meio ao macartismo – oposição e perseguição aos comunistas, decorrente da Guerra Fria – é dirigido pelo cineasta Elia Kazan e tem como roteirista John Steinbeck, importante romancista norte-americano. Suas temáticas dialogam com a cultura e a política da época, os quais buscamos resgatar através deste estudo. Ainda, sendo um filme norte-americano sobre o México, nos possibilita questionar como este país e seu povo são representados – e ir além, analisando como se formam as visões dos outros no imaginário norte-americano, visão esta que se reflete através de manifestações culturais, como o cinema / The film Viva Zapata! (1952) is the central axis of the present study, through which we tried to highlight the relationships among North American cinema, culture and politics in the 1950s, as well as to question how this cinema forms the view about the other – in this case, the Mexicans. Produced and launched in the United States during McCarthyism – opposition and persecution to communists due to Cold War –, that film was directed by the filmmaker Elia Kazan and had as writer John Steinbeck, an important North American novelist. Its themes dialogue with the culture and the politics of that period, which we tried to rescue through this study. In addition, it is a North-American film about Mexico, which allows us to question how this country and its people are represented – as well as to analyze how the view about the others is formed in the North American imagination, since this view is reflected through cultural manifestations such as cinema

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-14T12:08:10Z No. of bitstreams: 1 arquivo total.pdf: 3671987 bytes, checksum: 5ea1bc149b47c2fc011e1cd390abc337 (MD5) / Made available in DSpace on 2016-06-14T12:08:10Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 3671987 bytes, checksum: 5ea1bc149b47c2fc011e1cd390abc337 (MD5) Previous issue date: 2015-04-23 / The films A teta assustada (2009), directed by Claudia Llosa, Whisky (2003), directed by Juan Pablo Rebella and Pablo Stoll and O segredo de seus olhos (2009), by Juan José Campanella, as any artistic text, exist ―only in the spirit which endows them with reality‖ (AUMONT, 1995, p. 225). The strategies adopted by each filmmaker have impregnated the narratives with poetical quality and opened a space for a politics of fiction. These narratives have functioned as windows which allowed us to think about the common human being; these were deliberate partial choices pregnant of an affective and a political perspective, whose aim was to under-stand the vicissitudes of our everyday life, through the stories of singular subjects/characters. Aiming to amplify the understanding of this issue, we carried out analyses of various fictional texts, through which we discussed the theoretical principles of poeticalness and metafiction, based on Jacques Rancière, Roman Jakobson, Linda Hutcheon, Patricia Waugh and texts by the Russian formalists. The objective of this research was therefore to investigate how Latin-American cinema, represented in three early films of the twenty-first century has proposed new ways of thinking about politics and subjectivity through a poetical action and vision. / Las películas La teta asustada (2009), Claudia Llosa, Whisky (2003), de Juan Pablo Rebella y Pablo Stoll, y El secreto de sus ojos (2009), de Juan José Campanella, como todo texto artísti-co, existen ―solo en el espíritu que le(s) da su realidad‖ (AUMONT, 1995, p. 225). Las estra-tegias de cada cineasta proporcionaron poeticidad a las narrativas y abrieron espacio para una política de la ficción. Estas narrativas nos sirven como ventanas para pensar el cotidiano del hombre común, opciones declaradamente parciales y que están imbuidas de una perspectiva afectiva y política que busca comprender nuestras dificultades de todos los días a partir de la historia de ―seres‖ (personajes) singulares. Con el objetivo de ampliar la comprensión de este tema, hicimos análisis de varias obras de ficción a partir de las cuales discutimos los princi-pios teóricos de la poética y de la metaficción a luz de Jacques Rancière, Roman Jakobson, Linda Hutcheon, Patricia Waugh y de textos de formalistas rusos. El objetivo de este estudio fue, por tanto, investigar como el cine latinoamericano, representado en tres películas de este inicio de siglo, propone nuevas formas de pensar lo político y la subjetividad política desde un hacer y mirar poéticos. / Os filmes A teta assustada (2009), de Claudia Llosa, Whisky (2003), de Juan Pablo Rebella e Pablo Stoll, e O segredo de seus olhos (2009), de Juan José Campanella, como todo texto ar-tístico, existem ―somente no espírito que lhe[s] proporciona[m] sua realidade‖ (AUMONT, 1995, p. 225). As estratégias de cada cineasta dotaram as narrativas de poeticidade e abriram espaço para uma política da ficção. Tais narrativas serviram-nos como janelas para pensar o cotidiano do homem comum, tendo sido escolhas declaradamente parciais, impregnadas de um olhar afetivo e político que buscou compreender as agruras nossas de cada dia a partir da história de ―seres‖ (personagens) singulares. Visando ampliar a compreensão dessa questão, realizamos análises de textos de ficção diversos a partir dos quais discutimos os princípios teóricos de poeticidade e metaficção, à luz de Jacques Rancière, Roman Jakobson, Linda Hut-cheon, Patricia Waugh e de textos dos formalistas russos. O objetivo dessa pesquisa foi, por-tanto, investigar como o cinema latino-americano, representado em três filmes deste início de século, vem propondo novas formas de pensar o político e a subjetividade a partir de um fazer e olhar poéticos.

Orientador: Carlos Alberto Sampaio Barbosa / Banca: Mariana Martins Villaça / Banca: Carlos Eduardo Jordão Machado / Resumo: Temos no filme Viva Zapata! (1952) o eixo central desta pesquisa, através da qual buscamos iluminar as relações entre cinema, cultura e política norte-americana dos anos cinqüenta, além de questionar como este cinema forma uma visão sobre o outro - nesse caso, os mexicanos. Produzido e lançado nos Estados Unidos em meio ao macartismo - oposição e perseguição aos comunistas, decorrente da Guerra Fria - é dirigido pelo cineasta Elia Kazan e tem como roteirista John Steinbeck, importante romancista norte-americano. Suas temáticas dialogam com a cultura e a política da época, os quais buscamos resgatar através deste estudo. Ainda, sendo um filme norte-americano sobre o México, nos possibilita questionar como este país e seu povo são representados - e ir além, analisando como se formam as visões dos outros no imaginário norte-americano, visão esta que se reflete através de manifestações culturais, como o cinema / Abstract: The film Viva Zapata! (1952) is the central axis of the present study, through which we tried to highlight the relationships among North American cinema, culture and politics in the 1950s, as well as to question how this cinema forms the view about the other - in this case, the Mexicans. Produced and launched in the United States during McCarthyism - opposition and persecution to communists due to Cold War -, that film was directed by the filmmaker Elia Kazan and had as writer John Steinbeck, an important North American novelist. Its themes dialogue with the culture and the politics of that period, which we tried to rescue through this study. In addition, it is a North-American film about Mexico, which allows us to question how this country and its people are represented - as well as to analyze how the view about the others is formed in the North American imagination, since this view is reflected through cultural manifestations such as cinema / Mestre

Made available in DSpace on 2015-09-25T12:19:57Z (GMT). No. of bitstreams: 1 Fabio Rolim Peixoto.pdf: 1107939 bytes, checksum: 9dba5deb72f95e6a72a33af71c85567c (MD5) Previous issue date: 2009-08-25 / In this dissertation, we intend to accomplish the critical analysis of the romance The Hours (The Hours), written by the North American Michael Cunningham, in 1999, as well as of the adaptation of this work for the movies: The Hours, american film driven by Stephen Daldry, in 2002. The work of Cunningham narrates one day in the three women's life that they live in time and different space but they have your linked lives by the romance Mrs. Dalloway, of Virginia Woolf. In the development of this research, we located the present intertextuality in the works of Cunningham and of V. Woolf, showing as this dialogue is introduced to the reader. For the accomplishment of this project, we looked for back-up in the theory of the enunciation, proposed by Mikhail Bakhtin; as well as we fell back upon the parody concepts and paraphrase postulated by Domício Proença Filho, Affonso Romano de Sant´Anna, Linda Hutcheon, Leyla Perrone-Moisés, Julia Kristeva, Sandra Nitrini and Graham Allen. In what it concerns the analysis of the film, we made use of concepts of the movie theories (Bazin, Metz, Agel, Brito, among other) and a comparison between the romance and the film, in the intention of accomplishing aesthetic approaches and semiotics between the literature and the movies. / Nesta pesquisa, propomo-nos a realizar a análise crítica do romance As Horas (The Hours), escrito pelo norte-americano Michael Cunningham, em 1999, como também da adaptação desta obra para o cinema: As Horas, filme americano dirigido por Stephen Daldry, em 2002. A obra de Cunningham narra um dia na vida de três mulheres que vivem em tempo e espaço distintos mas têm suas vidas ligadas pelo romance Mrs. Dalloway, de Virginia Woolf. No desenvolvimento desta pesquisa, localizamos a intertextualidade presente nas obras de Cunningham e de V. Wololf, mostrando como este diálogo é apresentado ao leitor. Para a realização deste intento, buscamos respaldo na teoria da enunciação, proposta por Mikhail Bakhtin; bem como recorremos aos conceitos de paródia e paráfrase postulados por Domício Proença Filho, Affonso Romano de Sant´Anna, Linda Hutcheon, Leyla PerroneMoisés, Julia Kristeva, Sandra Nitrini e Graham Allen. No que diz respeito à análise do filme, fizemos uso de conceitos das teorias fílmicas (Bazin, Metz, Agel, Brito, entre outros) e uma comparação entre o romance e o filme, na intenção de realizar aproximações estéticas e semióticas entre a literatura e o cinema.

Esta tese analisa as representações estéticas e ideológicas na prática do documentário no Nuevo Cine Latinoamericano (NCL) a partir dos discursos dos cineastas Geraldo Sarno (Brasil), Raymundo Gleyzer (Argentina) e Santiago Álvarez (Cuba), entre os anos de 1964 e 1974. Para isso, estabelecemos paralelos entre a prática das realizações destes cineastas e os ideais e posições teóricas defendidos nos manifestos cinematográficos produzidos nestes países; bem como examinamos as vozes da produção discursiva que, neste período, enunciavam o cinema como instrumento de transformação social na América Latina. Além disso, investigou-se o processo de produção (da filmagem à exibição), elemento-chave para se entender o cinema social, militante e revolucionário dessa época, já que estes cineastas atuavam via de regra fora do circuito comercial de exibição. Por fim, indagamos em que medida o documentário se constituiu enquanto narrativa histórica. Em suma, a pesquisa almejou aprofundar os estudos sobre a produção documental no Nuevo Cine Latinoamericano, buscando interações entre teoria e prática, cinema e história e os significados dessas produções documentais para esse momento histórico, político e cultural da América Latina. / This tesis analyzes the aesthetic and ideological representations in the practice of documentary in the New Latin American Cinema (NCL) from the speeches Raymundo Gleyzer (Argentina), Geraldo Sarno (Brazil) and Santiago Álvarez (Cuba), between the years 1964 and 1974. For this, we established parallels between the practice of the achievements of these filmmakers and theoretical positions espoused in manifestos film produced in these countries, as well as examined the voices of discursive production, which, in this period, enunciated the cinema as a tool of social transformation in Latin America. Furthermore, we investigated the process of production (filming to distribution), a key element for understanding the political cinema of that time, as these filmmakers acted as a rule outside the commercial circuit display. Finally, we inquired how the documentary can be a historical narrative. In short, this research purposed to deepen the studies of the documentary in the New Latin American Cinema, seeking interactions between theory and practice, film and history and the meanings of these documentary productions for this moment in history, politics and culture in Latin America

La recherche se propose d'étudier des représentations cinématographiques de l'Indien et du monde indien en Colombie, depuis les origines en 1929-1930 et jusqu'à l'époque contemporaine. Elle identifie, répertorie, décrit et analyse une série d'éléments constitutifs des rapports que cette production cinématographique entretient avec les réalités sociales, culturelles ou ethnoculturelles de l'histoire colombienne, et, en particulier, avec le phénomène d'invisibilisation de l'Indien. Elle établit une périodisation en trois temps de l'histoire de cette production cinématographique en Colombie : 1] Période initiale ou de « découverte » de l'Indien et du monde indien par le cinéma colombien [1929-1964] ; 2] Période de redécouverte cinématographique de l'Indien [1968- 1980] ; 3] Période d'appropriation du cinéma et de l'audiovisuel par les cultures indiennes [1980-aujourd'hui]. La première est définie pour l'essentiel par les films d'évangélisation et de « civilisation », qui participent à la reproduction d'un imaginaire national excluant toute référence positive aux cultures indiennes ; la deuxième est caractérisée par la diversification des regards sur le monde indien, et, notamment, par l'utilisation du cinéma comme langage critique des formes de domination politique, économique, sociale et culturelle sur le monde indien ; la troisième est marquée par l'arrivée d'un nouveau support technique [la vidéo], l'auto-appropriation de son image par l'Indien et l'apparition de nouvelles pratiques cinématographiques en lien avec l'appropriation du cinéma et de la vidéo par les cultures indiennes. / This dissertation proposes to study cinematographic representations of the Indian and the Indian world in Colombia since the origins in 1929-1930 until the contemporary era. It identifies, classifies, describes and analyses a series of constituent elements of the relations that cinematographic production holds with social, cultural or ethno-cultural realities of the Colombian history and, in particular, with the phenomenon of the invisibilization of the Indian. It establishes three stages of the history of that cinematographic production in Colombia: 1] Initial period or “discovery” period of the Indian and the Indian world by the Colombian cinema [1929-1964] 2] Period of cinematographic rediscovery of the Indian [1968-1980] 3] Appropriation period of the cinema and the audiovisual by Indian cultures [1980-today]. The first period is defined essentially by films of evangelization and that of the “civilization”, which participates in the reproduction of a national imagery while excluding all positive reference to Indian cultures; the second is characterized by the diversification of the perspectives on the Indian world and notably, by the utilization of cinema as a critical language of political, economical, social and cultural forms of domination on the Indian world; the third is marked by the coming of a new technical support [the video], the auto-appropriation of their image by Indians and the apparition of new cinematographic practices in relation with the appropriation of cinema and video by the Indian cultures.

Référentiel, réflexif, métaphorique constituent un échantillon des expressions et concepts employés pour qualifier les films de Tim Burton, attestant du lien qui unit ce corpus à l'histoire de son art et à son époque. Partant de ce constat, l'hypothèse proposée ici affirme que cette filmographie constitue un cinéma de la ré-imagination. Le cinéaste emploie lui même ce terme pour définir l'approche conceptuelle de son cinéma. Cette thèse explique d'abord le choix de ce mot par rapport aux concepts pré existants pour ensuite analyser ce qu'il englobe et implique dans la filmographie de Tim Burton. Ses films sont conçus comme des boîtes à jouets rassemblant souvenirs, imagination et pièces intactes. Ces éléments constituent la base formelle des ré imaginations burtoniennes. Ils s'entremêlent au sein d'une même image, tout au long d'un fil narratif parfois ténu. En adoptant des procédés cinématographiques et filmiques ramenant vers des âges antérieurs du septième art et rattachant les intrigues au domaine de l'imaginaire par l'intermédiaire de manifestations mentales, Tim Burton construit un cinéma ancré dans le passé, essayant de reconstituer le royaume de l'enfance en le reconstituant avec ce qu'il en reste. / Referential, reflexive, metaphorical – these are a few recurrent terms and concepts used to describe the films of Tim Burton, which attest to the links between this corpus and the history of his art and his era. Based on this observation, the present hypothesis argues that Burton’s filmography is a cinema of re imagination. The filmmaker himself uses this term to describe the conceptual approach to his films. This dissertation explains the choice of re imagination in regard to other pre existing concepts before analyzing the implications of re imagination in Tim Burton's filmography. His films are designed like toy chests in which memories, imagination, and intact pieces are collected. These elements establish the formal base of Tim Burton's re imaginings. They come together to form a single image by means an often tenuous narrative thread. By adopting cinematographic and filmic processes which look back to prior eras of the seventh art, and by bringing stories into the domain of the imagination through the intermediary of mental manifestations, Tim Burton builds a cinema that is anchored in the past, all while trying to restore the kingdom of childhood with what is left behind.

Cette étude propose une analyse de la représentation de la peur dans la société américaine à l’époque du maccarthysme à travers la filmographie de trois réalisateurs contemporains : Alfred Hitchcock, Elia Kazan et Fred Zinnemann. La période charnière de 1946 à 1954 sert de cadre à ce travail. La définition de l'identité américaine était au cœur du mouvement anticommuniste des années cinquante dont l'organe étatique s'appelait la House Un-American Activities Committee (la HUAC), car le fait d'être communiste était considéré comme une activité anti-américaine. C’est pour cette raison que les trois réalisateurs qui ont été choisis pour cette étude sont tous issus de l'immigration, et que la notion identitaire est sous-jacente à ce travail. Le cinéma durant cette période révèle la présence de la peur dans l'esthétique et les scénarii des films eux-mêmes, mais également dans le contexte plus large de l'industrie cinématographique hollywoodienne. La peur fut utilisée dans la société américaine afin d'assurer la docilité du peuple. Tout ce qui concerne la façon dont une société est organisée relève de la politique. Cette étude s’intéresse donc à la fonction politique de la peur ainsi qu’à la façon dont le cinéma a pu être utilisé pour transmettre un message subliminal au public : deux aspects qui sont toujours d’actualité dans la société de nos jours. / The aim of this study is to present an analysis of the manifestation of fear in American society during the period of McCarthyism, and concentrates on the filmographies of three directors contemporary to events: Alfred Hitchcock, Elia Kazan and Fred Zinnemann. The period of transition, 1946 to 1954, provides the temporal framework for this work. Defining American identity was the underlying focus of the 1950s anticommunist movement, which depended on the interventions of the House Un-American Activities Committee (the HUAC), as being a Communist was considered to be an un-American activity. This is why the three directors studied here were all recent immigrants to the United States, and why the notion of identity underlies this study. The cinema of this era shows the presence of fear through the movie esthetics and screenplays, but also in the broader context of the Hollywood cinema industry. Fear was used in American society in order to ensure the docility of the population. Anything which concerns the way in which a society is organized is political. In this way, this study shows the political function of fear as well as the potential use of cinema in order to transmit a subliminal message to the public; two aspects of society which continue to subsist in today's world.

La revolución cubana no solo se concentró en cambiar el gobierno sino también en reforzar la producción de productos culturales. Se encargo de activamente fomentar la resolución de preguntas intelectuales sobre cultura, arte y estética. Desde el comienzo del régimen socialista se hicieron esfuerzos consientes para crear instituciones que fomenten la creación de productos culturares. Una de estas instituciones fue el Instituto Cubano de Arte e Industria Cinematográficos (ICAIC) la cual fue indispensable para el desarrollo del cine cubano. Como consecuencia directa un nuevo tipo de cine comenzó a surgir en Latinoamérica que se encargó principalmente en denunciar la miseria y en celebrar la protesta. Este cambio en la narrativa cinematografía a causa de la revolución cubana se conoce como el nuevo cine latinoamericano. El presente trabajo se encargará de analizar el rol del cine documental en la revolución cubana, partiendo de las obras cinematográficas de Santiago Álvarez y Sara Gómez; cinematógrafos instrumentales durante el régimen socialista. / The Cuban revolution did not only focus on changing the government it also preoccupied itself with reinforcing the cultural production. It actively engaged in encouraging the resolution of intellectual problems about culture, art, and aesthetics. From the start, the socialist regime made constant efforts, with the creation of institutions charged with the responsibility of boosting the creations of cultural products. One of these institutions was the Cuban Institute of Cinematographic Art and Industry (ICAIC). The ICAIC was indispensable in the development of Cuban cinema. As a direct consequence a new type of cinema started surging in Latin America which primary focused in the denouncement of misery and in celebrating protest. This change in the cinematography narrative in reaction to the success of the Cuban revolution it known as the New Latin American Cinema. This project will focus in analyzing the part documentary cinema played in the socialist regime focusing in the films made by Santiago Alvarez and Sara Gomez two cinematographs who were instrumental in the Cuban socialist regime. / Trabajo de investigación

In dieser Arbeit werden sowohl afrikanische Charaktere als auch Repräsentationen von Kleidung, Musik, Zeichen oder Symbolen, deren Ästhetik als afrozentrisch beschrieben werden kann, identifiziert und kritisch betrachtet. Zusammenfassend als „afrikanische Elemente“ bezeichnet, dient ihre Präsenz oft der Kontrastierung der in den Vordergrund gestellten afroamerikanischen Charaktere und Geschichten und operiert in dieser Kapazität zwischen der gleichzeitigen Sehnsucht nach und der Ablehnung Afrikas, die sich in den afroamerikanischen Identitäten ablesen lassen. Obwohl in anderen Teildisziplinen der African American Studies - wie etwa den Literatur- oder Theaterwissenschaften - die Beziehungen zu und die Bezugnahme auf Afrika bereits untersucht wurden, sind ähnliche Ansätze auf dem Gebiet der Filmwissenschaften noch deutlich unterrepräsentiert. Die Intention dieser Arbeit liegt deshalb darin, die bestehende Forschung um die Fragestellung zu ergänzen, auf welche Weise diese Elemente dargestellt werden. Wie tragen sie zu den Narrativen bei, in die sie eingeflochten sind und wie spiegelt ihre Einbindung in die ausgewählten Filme die jeweilige Politik, die kulturelle Ästhetik und die sozialen Entwicklungen ihrer Entstehungsära wider? Den konzeptionellen Rahmen der Arbeit bildet eine kumulative Vorgehensweise. Es werden jene Faktoren untersucht, die zur Auswahl, visuellen Umsetzung und Repräsentation der afrikanischen Elemente, auf die Bezug genommen wird, beigetragen haben. Die Arbeit verhandelt dabei auch die Frage, wie und warum bestimmte Auffassungen von Afrika und seinen Bewohnern in den besprochenen Filmen fortbestehen. Schließlich soll mit der Arbeit innerhalb der derzeit bestehenden Forschung ein Grundstein für die differenziertere Betrachtung Schwarzer Erfahrungen in den ausgewählten Filmen gelegt werden. / This study identifies and critically assesses African characters as well as representations of dress, music, signs or symbols, which may be described as Africacentric in their aesthetic, in African American film. Collectively termed as African elements, their presence in the selected films is often distinguished from the foregrounded African American characters and stories, and in this capacity, operates between the concurrent desires and negations of Africa in the assertions of African American identities. Although within other scholarly disciplines in African American studies, such as literature or theatre studies, the relations and references to Africa have been explored, similar explorations in the area of film studies are arguably underrepresented. The specific contribution of this study therefore intends to expand on the existing body of work in its assessment of the ways in which these elements are presented, how they contribute to the narratives they are engaged in and how their inclusion in the selected films reflect the contemporary politics, cultural aesthetic and social trends of the era in which they are produced. The conceptual framework of the thesis follows a cumulative approach where the respective determinants that have contributed to the choice, visualisation, and representations of the referenced African elements are examined. The thesis thereby negotiates questions of how and why particular perceptions of Africa and Africans in the selected films persist. Ultimately, it establishes a premise for why in the current scholarship there should be a place for a more differentiated analysis of black experiences within the discussed films.