Made available in DSpace on 2016-03-15T19:44:30Z (GMT). No. of bitstreams: 1 Thais Fernanda Martins Hayek.pdf: 6270303 bytes, checksum: 3836d588ce42591202a0bc2b2d94ec27 (MD5) Previous issue date: 2014-08-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The relevance and creativity of Walt Disney to the cultural history and contemporary art is express in the movie Fantasia (1940), which originality is characterized by the union between the new technologies applied to the animation movies in the first decades of the twentieth century and the diverse kinds of cultural and artistic languages produced so far. Through this combination between aesthetic and ethical values, the symbolic language used allows the identification of the archetypes of the collective unconscious that orbit in the popular imagination. This work aims to present an analysis of Fantasia movie, especially the historic, structural and symbolic aspects, through the methodological resources proposed at the John B Thompson s Depth Hermeneutics. To the results were defined three focuses of interest which are at the movie: the historical and cultural contexts which the movie was made; the technical features of the film language and, finally the behavioral issues linked to the archetypal psychology. The first chapter provides a brief introduction of the animation movies and the Disney s contributions and his staff for this autonomous art. And, points the history of the creation and production of Fantasia in its historical context. The second chapter aims to show the structural factors of the work, making a descriptive analysis and relate it to the animation principles that gave to this language the bases of a singular aesthetic. In the last chapter, it's made a reinterpretation to the animate forms in the movie Fantasia, proposed by Disney and his staff, in the perspective of archetypal psychology, in other words, what are the symbols that represents the deeper structures of the collective psyche giving the meaning of the story. The final consideration confirms the initial hypothesis that Fantasia is an original work in terms of its technical way, conditioned by ethical and aesthetic values of Judeo-Christian traditions and its timeless success is based on the universal symbols and myths that exist in the beginning of history of the civilization. / A relevância e a criatividade de Walt Disney para a história da cultura e da arte contemporânea estão expressas na sua obra Fantasia (1940), cuja originalidade se caracteriza pela união entre as novas tecnologias aplicadas ao cinema de animação nas primeiras décadas do século XX e as mais diversas linguagens artístico-culturais produzidas até então. Por meio desta combinação entre valores estéticos e éticos, a linguagem simbólica utilizada permite identificar os arquétipos que orbitam o inconsciente coletivo no imaginário popular. Este trabalho buscou apresentar uma análise do filme Fantasia, apontando em especial seus aspectos históricos, estruturais e simbólicos, por meio dos recursos metodológicos propostos em Hermenêutica da Profundidade, por John B. Thompson. Para se chegar aos resultados, foram definidos, portanto, três focos de interesses presentes na obra: o contexto histórico-cultural no qual esta foi produzida a obra; os recursos técnicos da linguagem fílmica e, por último, as questões comportamentais vinculadas à Psicologia Arquetípica. O primeiro capítulo traz uma breve introdução do cinema de animação, as contribuições de Disney e sua equipe para a fundamentação desta modalidade como arte autônoma. Destaca a história da criação e produção de Fantasia no seu contexto histórico. O segundo capítulo aponta os fatores estruturais da obra, fazendo uma análise descritiva e relacionando-a com os princípios de animação, que deram identidade a essa linguagem e ajudaram a fundamentar uma estética singular. No último capítulo é feita uma reintrepetação das formas animadas presentes em Fantasia, propostas por Disney e sua equipe, sob a ótica da psicologia arquetípica, ou seja, que símbolos representam as estruturas mais profundas da psique coletiva dando sentido ao enredo. As considerações finais confirmam a hipótese inicial de que Fantasia é uma obra original no que tange seu percurso técnico, condicionada pelos valores éticos e estéticos da formação judaico-cristã no mundo ocidental e seu sucesso atemporal se deve à utilização de símbolos e mitos universais presentes nos primórdios da história da civilização.

En 1963, le mangaka Osamu Tezuka crée la première série d'animation télévisée de l'histoire. Pour y parvenir, l'équipe du studio Mushi production a tenté de procéder à la refonte des méthodes de fabrication traditionnelles du dessin animé, elles-mêmes tout juste entrevues à travers le modèle américain.Cette recherche consiste à analyser les expérimentations plastiques qui ont donné naissance à cette nouvelle forme d’animation, à en dégager le caractère innovant et à analyser les répercussions techniques, esthétiques et scénaristiques, à l’époque de l’avènement de l’animation à la télévision au Japon.La thèse soutient l'idée que l'oeuvre filmique d'Osamu Tezuka invite à balayer la traditionnelle opposition entre les approches expérimentales et industrielles en art.Même si les productions étudiées inaugurèrent une nouvelle tradition du flm d'animation, Tezuka est-il réellement l'artisan de cette systématisation ? Par quels mécanismes ses fictions se sont-elles imposées comme le symbole de l'essor de l'industrie du divertissement au Japon ? Peut-on y lire les tourments d'une civilisation en mal de valeurs politiques ? Cet aspect serait-il de nature à refondre également les contenus et les structures poétiques du dessin animé ? / In 1963, mangaka Osamu Tezuka created the first animated television series in history. To achieve it, the Mushi production team tried to recast traditional cartoon-making methods, poorly known through the American model.This research propose to explore the experiments which made this new form of animation, to detail its innovative aspect, and to analyse the technical and esthetical impact in the television boom period in Japan.The text argues that Osamu Tezuka's film work encourages us to sweep the traditional opposition between the experimental and industrial approaches. Indeed, Tezuka's work marks the beginning of a new tradition of animation. But is this artist really the architect of this systematization? How did his fictions become the symbol of the boom in the entertainment industry? Do they convey the torments of a civilization missing political values? Do they allow reconsidering the contents of the poetic structures of cartoons?Key-words: Osamu Tezuka, animation, Japanese animation, Japanimation, cel-animation, cartoons, television series, made-for-television animation, art and industry, manga, entertainment, entertainment industry.

Made available in DSpace on 2016-04-04T18:32:45Z (GMT). No. of bitstreams: 1 Tatiana Cuberos Vieira.pdf: 4754886 bytes, checksum: 07aea5239dc93689ebf62e2fd2f2c137 (MD5) Previous issue date: 2008-06-10 / This study, included in the Researches on Pedagogical Practices and Educator's Background, shows the power that the art of animation as a didactical instrument and its positive consequences on the student's background, who is submerged in an information and knowledge society and who aims a new point of view on education: to learn how to think, learn how to learn, and learn to do things. In this way, the research redeems the historic of cinematographic language use, focusing its potentialities. Besides, it exposes positive educational experiences of this joint, aiming mainly, the pedagogical practice and its consequences on the student's background. Three studies examples will be discussed herein, divided into two classes. The first one is education for the media, which aims the critical development of the point of view on the animation movies, as shown by Cineduc?RJ in the animation study of "As Bicicletas de Belleville" and "Meow". In the second class, the education is discussed with the media which promote the change the way we look through the animation creation by students. Anima Escola-RJ and N?cleo de Cinema de Anima??o de Campinas (Anima School and Center of Animation and Movies of Campinas) work with animation workshops including students from the public school net. We conclude that this art stimulates the development of personal abilities, the valorization of individual expression, the power of working in group, aiming the structure of the citizens through the art of animation movies. / Este estudo, inserido na linha de pesquisa Pr?ticas Pedag?gicas e Forma??o do educador, mostra a for?a da arte da anima??o como meio did?tico e suas conseq??ncias positivas na forma??o do aluno, que vive imerso em uma sociedade da informa??o e do conhecimento e que prima por uma nova vis?o de educa??o: de aprender a pensar, aprender a aprender e aprender a fazer. Assim, a pesquisa resgata o hist?rico do uso da linguagem cinematogr?fica na escola, enfatizando suas potencial idades. Em seguida, exp?e experi?ncias educacionais positivas desta uni?o, visando principalmente a reflex?o sobre a pr?tica pedag?gica e suas conseq??ncias para a forma??o do aluno. Ser?o tratados tr?s exemplos de estudo, divididos em duas categorias. A primeira delas ? educa??o para os meios que visa o desenvolvimento cr?tico do olhar sobre o cinema de anima??o, como mostram os exemplos do Cineduc-RJ sobre o estudo das anima??es "As Bicicletas de Belleville" e "Meow". Na segunda categoria, discute-se a educa??o com os meios que promove a criticidade atrav?s da produ??o de anima??es pelos alunos. O Anima Escola-RJ e o N?cleo de Cinema de Anima??o de Campinas trabalham com oficinas de anima??o envolvendo alunos da rede p?blica. Conclui-se que esta arte estimula o desenvolvimento de habilidades pessoais, a valoriza??o da express?o individual, a for?a do trabalho em grupo, visando a forma??o do cidad?o atrav?s da arte do cinema de anima??o.

Notre thèse décrit la trajectoire esthétique, économique et sociale du cinéma d’animation français. Cette sociogenèse couvre la période où il se constitue comme champ artistique, aboutissant enfin à une reconnaissance tardive, encore très peu renseignée. La première partie s’attache donc à l’archéologie de son évolution, depuis la première autonomisation de l’après guerre à la mise en place d’une politique publique qui modifie radicalement le paysage de l’animation au début des années 1980. Dans un contexte d'autonomisation contrariée du champ de l'animation, nous examinons ensuite les rôles respectifs du Centre National de la Cinématographie (CNC), des producteurs et des chaînes de télévision, et les nouvelles règles du jeu qu’ils introduisent. Nous interrogeons enfin l’impact de tous ces acteurs, qui jugent et produisent de la qualité cinématographique, sur le destin des artistes et leurs productions. / Our thesis describes the aesthetic, economic and social path of the french animation movies.This socio-genesis focuses on the moment when it becomes an artistic field, reaching at theend a late recognition, which is still poorly informed. The first part makes the archeology ofits evolution, from the first independence conquest after war, to the setting out of a publicpolicy, which makes a heavy change on the animation landscape at the early 1980’s. In this context of impeded empowerment of the animation field, we will examine then the respective roles of the National Cinematography Center, the producers and the television channels, andthe new rules they introduce. We will finally highlight the impact of these operators, who judge and produce cinematographic quality, on the destiny of the artists ant their movies.