Made available in DSpace on 2015-04-14T13:47:57Z (GMT). No. of bitstreams: 1 447479.pdf: 1553401 bytes, checksum: 8b04a30101292465b986a9f463d637bf (MD5) Previous issue date: 2013-03-26 / The approval of Historical Memory Law happened in a time of troubled political and social regarding the memories of the victims of the Spanish Civil War and and Francoism. This complaint about the losers memories has been treated since the Democratic Transition, started after Francisco Franco s death in 1975. Cinema, as cultural demonstration, was used throughout all Francoism either to legitimate the State speeches or to contest them. With the consolidation of democracy in Spain, it was not different: many film productions continued building their own narratives about the recent past of the country. Thus, the present term paper aims at analyzing how the films Silencio Roto (Montxo Armend?riz, 2001) and El Laberinto del Fauno (Guillermo del Toro, 2006), through the respective representations about the Francoist repression against guerrilla Maquis in the first years of the Spanish dictatorship, they acquire other meanings when analyzed in their corresponding production contexts. Through the film analysis, it was searched in the intrafilmic elements (present representations in the sequences, scenes and characters) and extrafilmic analysis (details about the production and its context) evidences about the movie makers positioning regarding Duty of Memory in Spain. From this point, conter-analysis has allowed inserting both films in the political and social debate about the dispute of memories in Spain in the 2000s. The importance of this research lies in the usage of film source as an analysis object, as well as its approach with questions regarding Memory areas which allow a narrative juxtaposition with historiography. / A aprova??o da Lei de Mem?ria Hist?rica deu-se em meio a conturbados debates pol?ticos e sociais sobre as mem?rias das v?timas da Guerra Civil espanhola e do Franquismo. Essa querela sobre as recorda??es dos perdedores vem sendo tratada desde a Transi??o Democr?tica, iniciada ap?s a morte de Francisco Franco, em 1975. O cinema, enquanto manifesta??o cultural, foi utilizado ao longo de todo o Franquismo ora para legitimar os discursos do Estado, ora para contest?-lo. Com a consolida??o da democracia na Espanha, n?o foi diferente: muitas produ??es f?lmicas continuaram construindo narrativas pr?prias sobre o passado recente do pa?s. Neste sentido, a presente disserta??o tem como objetivo analisar de que forma os filmes Silencio Roto (Montxo Armend?riz, 2001) e El Laberinto del Fauno (Guillermo del Toro, 2006), atrav?s de suas respectivas representa??es sobre a repress?o franquista contra a guerrilha Maquis nos primeiros anos da ditadura espanhola, adquirem outros significados quando analisados em seus correspondentes contextos de produ??o. Atrav?s da an?lise f?lmica, buscou-se nos elementos intraf?lmicos (representa??es presentes nas sequ?ncias, cenas e personagens) e extraf?lmicos (detalhes sobre a produ??o e seu contexto) evid?ncias sobre os pr?prios posicionamentos dos cineastas com rela??o ao Dever de Mem?ria na Espanha. A partir disso, a contra-an?lise possibilitou inserir ambas as pel?culas no debate pol?tico e social sobre a disputa de mem?rias na Espanha dos anos 2000. A import?ncia desta pesquisa reside na utiliza??o da fonte f?lmica enquanto objeto de an?lise, bem como sua aproxima??o com as quest?es relativas ? Mem?ria ?reas que possibilitam uma justaposi??o narrativa com a pr?pria historiografia.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-05-29T22:43:23Z No. of bitstreams: 1 469812 - Texto Completo.pdf: 1435631 bytes, checksum: 835fd715774e0f06fe8658771d319fd3 (MD5) / Made available in DSpace on 2015-05-29T22:43:23Z (GMT). No. of bitstreams: 1 469812 - Texto Completo.pdf: 1435631 bytes, checksum: 835fd715774e0f06fe8658771d319fd3 (MD5) Previous issue date: 2015-03-10 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This dissertation aims to investigate the relationship between image, narrative and the political throughout the subjectivity. In this way, a film analysis are developed based on the political-affective aspects of the characters of the films Rio, Zona Norte (1957) and Boca de Ouro (1962) by the director Nelson Pereira dos Santos . The political is treated in cinema from the perspective of Alain Badiou (2004), due to the fact that the characters manifest themselves politically in forms of resistance of dominations of their affections. With this assumption, it is aimed to reflect on how the characters Esp?rito and Boca de Ouro produce political-affective involvements in their daily lives. For that, a theoretical framework is composed especially by Jacques Ranci?re (2012), Sigfried Kracauer (2001) e Gilles Deleuze (1985). The analysis show that the political-affective of the characters is formed through fields of force produced by image-narrative interaction. In other words, in one way the image reveals forms of resistance, and the narrative reveals subjections, in another hand the narrative produces senses of resistance and the image reveals stabilization in forms of affective transformation of the characters. / Esta disserta??o prop?e-se a investigar as rela??es entre imagem, narrativa e o pol?tico por meio da subjetividade. Desse modo, s?o realizadas an?lises f?lmicas dos aspectos pol?tico-afetivos em personagens dos filmes Rio, Zona Norte (1957) e Boca de Ouro (1962), do diretor Nelson Pereira dos Santos. O pol?tico ? tratado no cinema na perspectiva de Alain Badiou (2004), para quem os personagens manifestam-se politicamente nas formas de resist?ncia ?s domina??es de seus afetos. Com esse pressuposto, procura-se refletir como os personagens Esp?rito e Boca de Ouro produzem envolvimentos pol?tico-afetivos em seus cotidianos. Para isso, mobiliza-se um quadro te?rico composto especialmente por Jacques Ranci?re (2012), Sigfried Kracauer (2001) e Gilles Deleuze (1985). As an?lises mostram que o pol?tico-afetivo dos personagens ? formado atrav?s de campos de for?as produzidos pela rela??o imagem-afeto-narrativa. Ou seja, ora a imagem revela formas de resist?ncia, e a narrativa, sujei??es, ora a narra??o produz sentidos de resist?ncia e a imagem revela estabiliza??es nas formas de transforma??o afetiva dos personagens.