Made available in DSpace on 2016-08-03T16:15:29Z (GMT). No. of bitstreams: 1 Camilapg1_73.pdf: 598890 bytes, checksum: 1901d3f34a6b5950e00cb0949c8ee854 (MD5) Previous issue date: 2011-04-12 / Audiovisual culture and teacher development: possibilities and limits in educommunicative practices aimed at investigating the possibilities and limits in the uses of educomunicative practices to transpose barriers and to approximate educators and students, based on teachers development to the production of audiovisual culture in school environments. The research was based on Paulo Freire and Henry Giroux for the concepts of education and teachers development; Fernando Hernandez and Marshall McLuhan for the audiovisual culture and means of communication; Mario Kaplún and Ismar de Oliveira Soares for the concept of educommunication. The present study is a qualitative action-research, based on formative experiences offered to educators for the production of audiovisual culture by means of educommunicative practices, in the form of video, radio and comics. The research data were collected and registered in audio in cultural circles, according to Paulo Freire proposals, where the research participants discussed the impressions about the experiences. The possibilities and limitations were observed from the subjective, collective and structural axles in order to examine and analyze the major dimensions of the educational work. The results allowed to observe that the teacher training alone does not include transformation of the relationships in the school context but theoretically grounded institutional political-pedagogical projects aligned with the educommunicative proposal may be provocative of changes in a broader and more effective scope. / Cultura Audiovisual e Formação de Educadores: Possibilidades e Limites em Práticas Educomunicativas buscou investigar as possibilidades e limites da utilização de práticas educomunicativas para a transposição de barreiras e a aproximação entre educadores e educandos, a partir da formação de educadores para a produção de cultura audiovisual no ambiente escolar. Para tanto, foram norteadores teóricos da pesquisa: Paulo Freire e Henry Giroux, para os conceitos de educação e formação de educadores; Fernando Hernandez e Marshall McLuhan no tocante à cultura audiovisual e aos meios de comunicação; Mario Kaplún e Ismar de Oliveira Soares para o conceito de educomunicação. Trata-se de uma pesquisa-ação qualitativa, baseada em experiências formativas para educadores voltadas para a produção de cultura audiovisual por meio de práticas educomunicativas, nos formatos de vídeo, rádio e histórias em quadrinhos. Os dados da pesquisa foram coletados através da realização de círculos de cultura, conforme a proposta de Paulo Freire, registrados em áudio, onde os sujeitos da pesquisa discutiram as impressões sobre estas experiências. As possibilidades e limites investigados foram observados sob os eixos subjetivo, coletivo e estrutural a fim de analisar as principais dimensões do trabalho educativo. Os resultados obtidos permitiram observar que só o aspecto da formação de educadores não contempla a transformação das relações no contexto escolar, mas que a fundamentação de projetos político-pedagógicos institucionais alinhados com a proposta educomunicativa pode ser viabilizadora destas transformações num escopo mais amplo e efetivo.

Muito além da delimitação de bordas para a ficção, o documentário, o filme-ensaio, o experimental e outros tantos, percebemos que há um amálgama entre esses territórios na linguagem audiovisual contemporânea. Esta pesquisa busca investigar espaços de hibridação, compreender suas aproximações e distanciamentos. Para isso, selecionamos como objetos de estudo dois filmes brasileiros, ambos dos diretores Karim Aïnouz e Marcelo Gomes: o curta documental Sertão de acrílico azul piscina (2004) e o longa ficcional Viajo porque preciso, volto porque te amo (2009). Na análise da tessitura narrativa das obras, pretendemos elaborar um espaço de intersecção, um entremeio narrativo a partir de suas camadas indexadoras, considerando a emissão e a produção das obras. Da mesma forma, na esfera da recepção discursiva, abordamos a necessidade da construção de um modo de leitura hibridizante, que dê conta das impressões e sensações percebidas pelo espectador em seu contato com esses filmes, compostos a partir de um entremeio, cujas fronteiras não podem ser delimitadas senão por um vasto espaço de intersecção. / Far beyond the delimitation of borders for fiction, documentary, essay film, experimental and so many, we realize that there is an amalgamation between these territories in contemporary audiovisual language. This research aims to investigate hybridization spaces, in order to understand their approximations and distances. With this purpose, we have selected as objects of study two Brazilian films, both directed by Karim Aïnouz and Marcelo Gomes: the documentary Sertão de acrílico azul piscina (2004) and the fiction I travel because I have to, I come back because I love you (Viajo porque preciso, volto porque te amo, 2009). In the analysis of the films narrative structure, we intend to elaborate a space of intersection, an intermediate narrative from its indexing layers, considering the emission and the production of the works. Similarly, in the sphere of discursive reception, we approach the need to construct a hybridized reading mode, sufficiency for the impressions and sensations perceived by the viewer in his or her contact with these films, composed of an intersection, which borders should not be bounded unless by a vast space of intersection.

Muito além da delimitação de bordas para a ficção, o documentário, o filme-ensaio, o experimental e outros tantos, percebemos que há um amálgama entre esses territórios na linguagem audiovisual contemporânea. Esta pesquisa busca investigar espaços de hibridação, compreender suas aproximações e distanciamentos. Para isso, selecionamos como objetos de estudo dois filmes brasileiros, ambos dos diretores Karim Aïnouz e Marcelo Gomes: o curta documental Sertão de acrílico azul piscina (2004) e o longa ficcional Viajo porque preciso, volto porque te amo (2009). Na análise da tessitura narrativa das obras, pretendemos elaborar um espaço de intersecção, um entremeio narrativo a partir de suas camadas indexadoras, considerando a emissão e a produção das obras. Da mesma forma, na esfera da recepção discursiva, abordamos a necessidade da construção de um modo de leitura hibridizante, que dê conta das impressões e sensações percebidas pelo espectador em seu contato com esses filmes, compostos a partir de um entremeio, cujas fronteiras não podem ser delimitadas senão por um vasto espaço de intersecção. / Far beyond the delimitation of borders for fiction, documentary, essay film, experimental and so many, we realize that there is an amalgamation between these territories in contemporary audiovisual language. This research aims to investigate hybridization spaces, in order to understand their approximations and distances. With this purpose, we have selected as objects of study two Brazilian films, both directed by Karim Aïnouz and Marcelo Gomes: the documentary Sertão de acrílico azul piscina (2004) and the fiction I travel because I have to, I come back because I love you (Viajo porque preciso, volto porque te amo, 2009). In the analysis of the films narrative structure, we intend to elaborate a space of intersection, an intermediate narrative from its indexing layers, considering the emission and the production of the works. Similarly, in the sphere of discursive reception, we approach the need to construct a hybridized reading mode, sufficiency for the impressions and sensations perceived by the viewer in his or her contact with these films, composed of an intersection, which borders should not be bounded unless by a vast space of intersection.

Магистерская диссертация посвящена сложной и пока мало разработанной теме, связанной с историей и современным развитием звукозаписи как уникального явления культуры России ХХ-ХХI вв., которое требует серьезного культурологического осмысления. Теоретико-методологическая база диссертации содержит широкий круг научных трудов, охватывающих различные области гуманитарного знания (философия, социология, культурология, искусствознание, музыковедение и др.) и создает социокультурный контекст развития звукозаписи как в России, так и в странах Запада, а также выявляет специфику бытования звукозаписи в современной российской культуре. В работе представлен большой эмпирический материал, сделана его систематизация и научная обработка. Новизна диссертации состоит также и в анализе издательского дела, который решается в русле проблем лицензирования, "самиздата" и пиратства, которые характеризуют современное состояние музыкальной индустрии, особенно в сфере массовой культуры. Представленный в диссертации проект "Рекорд-лейбл GATEMOUTH" предлагает пути решения вопросов звукоиздательства в России и в Интернет-пространстве. / The master's thesis is devoted to a complex and so far little developed topic related to the history and modern development of sound recording as a unique phenomenon of Russian culture in the XX-XXI centuries, which requires serious cultural understanding. The theoretical and methodological base of the dissertation contains a wide range of scientific works covering various areas of humanitarian knowledge (philosophy, sociology, cultural studies, art studies, musicology, etc.) and creates a socio-cultural context for the development of sound recording both in Russia and in Western countries, and also reveals the specifics the existence of sound recording in modern Russian culture. The work presents a large empirical material, made its systematization and scientific processing. The novelty of the dissertation also lies in the analysis of publishing, which is solved in line with the problems of licensing, "samizdat" and piracy, which characterize the current state of the music industry, especially in the field of mass culture. The project "GATEMOUTH Record-Label" presented in the dissertation proposes ways of solving the problems of sound production in Russia and in the Internet space.

Данная магистерская диссертация представляет собой обоснованное теоретическое и практическое исследование продюсерского кино как феномена аудиовизуального творчества. Феноменальность его обуславливается многими факторами, рассматриваемы в данном исследовании, в особенности значительное внимание уделено симбиозу бизнеса и искусства. / Following thesis represents reasonable theoretical and practical research of producer movie as phenomenon of audiovisual creativity. Its aspects are caused by many factors, that are considered in given research, in particular the considerable attention is paid to symbiosis of business and art.

Магистерская диссертация посвящена мало изученной проблеме – эволюции психологического триллера как продукта аудиовизуального творчества. Работа состоит из Введения, трех глав, Заключения, Списка использованных источников и Приложения. Достоинством диссертации в теоретическом аспекте является анализ аудиовизуального творчества как структуры социально-культурной деятельности и аудиовизуальной основы кинообраза как специфики его психологического воздействия. В работе проведено научное исследование феномена психологического триллера в кино и его трансформация в эпоху постмодерна и в условиях современной массовой культуры XXI века. В современной науке эта тема практически не изучена, что заслуживает особого внимания. Интерес представляет и практическая составляющая магистерской диссертации, связанная с разработкой хронологического сайта «Психологический триллер в кино», включающего выбор платформы для размещения сайта, разработку общего дизайн-решения сайта, создания основной части сайта и «словаря» сайта. / The master's thesis is devoted to a little-studied problem – the evolution of a psychological thriller as a product of audiovisual creativity. The work consists of an Introduction, three chapters, a Conclusion, a List of References and an Appendix. The merit of the dissertation in the theoretical aspect is the analysis of audiovisual creativity as a structure of social and cultural activity and the audiovisual basis of the film image as the specificity of its psychological impact. The work carried out a scientific study of the phenomenon of psychological thriller in cinema and its transformation in the postmodern era and in the conditions of modern mass culture of the XXI century. In modern science, this topic is practically not studied, which deserves special attention. Of interest is the practical component of the master's thesis related to the development of a chronological site "Psychological Thriller in Cinema", including the choice of a platform for hosting the site, the development of a general design solution for the site, the creation of the main part of the site and the "dictionary" of the site.