Esta pesquisa busca, tendo como eixo principal Chris Marker e o filme Le fond de lair est rouge, fazer uma retrospectiva histórica dos principais debates na experiência do cinema-militante francês. Com um caráter introdutório e a partir daí construir alguns apontamentos iniciais para uma interpretação crítica do filme. Através desta aventura político-cinematográfica comentar um fragmento do que se oculta atrás das barricadas da memória. / This research aims, having as an leit-motif Chris Marker and the film Le fond de l\'air est rouge, making a historical retrospective of the major debates on the experience of French militant cinema, introductory in nature and serving as first notes to a critical interpretation of the film. Through this cinematics and politics adventure it trys to make a comment on a fragment of what is hidden behind the barricades of memory.

Chris Marker é um cineasta que realizou documentários políticos pouco convencionais ao longo de quase sessenta anos de carreira. Depois de uma militância ativa e inserida no coração de acontecimentos cruciais na França e na Europa, e de uma carreira literária como editor, ensaísta e romancista, natural que seus filmes, vistos isoladamente, provoquem as mais equivocadas interpretações. Esta pesquisa procura, através de um levantamento de seus filmes e escritos, dos debates que foram se travando sobre a vida nacional francesa e mundial, sempre retomando os fios dos acontecimentos decisivos do período do Front Populaire (1936), da ocupação da França pelos nazistas e das lutas de Resistência buscar uma interpretação para muitos dos aspectos aparentemente desconcertantes de sua filmografia. Ao longo dos capítulos a pesquisa aborda, a partir de documentação esparsa em textos, declarações, debates, frases de filmes, os elementos biográficos \"enigmáticos\" de que se tem conhecimento, dada a discrição do cineasta sobre a sua pessoa. Em seguida o momento crucial da entrada de Marker, com 16 anos, no liceu em Paris e turbulências do ano de 1936, na França, discorre sobre o Front Populaire. Depois foca o nascimento de uma corrente, da qual Chris Marker participa, influenciada pela filosofia personalista de Emmanuel Mounier; e depois sua passagem pela revista Esprit e posteriormente a sua integração nas lutas da Resistência. Seguindo os passos do futuro cineasta, aborda o impacto da Resistência na vida militante e a formação dos cineclubes no meio operário com a Associação Peuple et Culture. Toda esta trajetória é permeada por comentários e análises de cenas dos futuros documentários. Por fim a pesquisa, aborda a problemática do cinema militante, analisando L\'ambassade (1973), filme de solidariedade com a Unidade Popular chilena e contra o golpe de Pinochet e o curta sobre o editor François Maspero. Os últimos percalços de nosso percurso busca construir um debate sobre A. Medvedkine e V. Maiakóvsky e a profanação da arte moderna, procurando investigar como na obra de Chris Marker coincidem cinema militante, cinema experimental, cinema ensaio e cinema documentário. / Chris Marker is an intriguing filmmaker who produced unconventional political documentaries over almost sixty years. After an active militancy, and inserted in the heart of crucial events in France and Europe, and working on a literary career as an editor, essayist and novelist, it is natural that his films, viewed in isolation, could cause the most equivocal interpretations. This research seeks, through a detailed analyses of his films and writings, to work with the debates that were important on the French national and global life of his time. Always thinking about the decisive events of the Front Populaire in the period (1936), the occupation of France by the German Nazis and the participation of Marker in the struggles of the Resistance. All of this puzzeled elements seek an interpretation for many of the seemingly confusing aspects of his filmography. Throughout the chapters of this research, we seek to approach, with this documentation, texts, statements, debates, films phrases, the enigmatic biographical elements of his uncanny formation. Marker is known by the discretion about himself. Working on his years of youth and formation, we see that when aged 16, in high school in Paris and the 1936 year in France, discussing at length the Front Populaire, we seek to work about Chris Marker influence by the personalist philosophy of Emmanuel Mounier and then by Esprit and later in it\'s integration in the struggles of resistance. Following in the footsteps of the filmmaker, this work discusses the impact of this years in his militant life, including the training of workers film clubs. All this history is permeated by scenes and debates of his future documentaries. Finally, the research addresses the issue of militant cinema, analyzing L\'ambassade (1973), the solidarity with the Chilean Popular Unity and the struggle against the totalitarian latin american dictatorships, and a short film-portrait of the editor Maspero. We end our research with a debate on A. Medvedkine and V. Mayakovsky and the profanation of modern art, trying to investigate how the work of Chris Marker coincide with militant cinema, experimental cinema, film essay and documentary cinema.

Chris Marker, (1921-2012) qui photographie et filme des lieux divers dans le monde entier, avait pour thème de prédilection la ville. En effet, ce lieu de circulation et de mobilité, dépassant toutes les clôtures, se prête particulièrement aux œuvres markériennes, caractérisées par l’entrecroisement de différents espace-temps, et par l’expérience de l’altérité. En étant à la fois cinéaste et voyageur, les images de la ville capturées par Marker se caractérisent par le déplacement, en particulier par l’expérience de la flânerie, qui constitue un élément essentiel de la réflexion philosophique sur la ville moderne de Walter Benjamin (1892-1940). Pour cette raison, cette thèse est consacrée à l’analyse des œuvres de Marker autour du thème de la flânerie. Ainsi, au cours de trois parties, nous travaillerons des concepts reliées à la flânerie : le seuil, l’allégorie, et le chiffonnier. Ces travaux thématiques nous aideront à comprendre la stratification complexe de l’espace-temps, le caractère transitoire, et l’art de l’assemblage dans les images markériennes. Ces recherches sont finalement élargies à la notion de la navigation comme version renouvelée de flânerie, pour analyser l’espace de L’Ouvroir, le monde virtuel crée sur Second Life par Marker dans sa dernière période. Par conséquence, à la lumière des problématiques abordées par la flânerie, on comprend que la création artistique de Marker est fondée sur la quête continuelle de nouvelles expérience visuelles qui remettent en question la modernité et la représentation cinématographique. / Chris Marker (1921-2012) is a filmmaker, who took photos and filmed various places by travelling all over the world. The city had been one of the important subjects for Marker’s works. Suppose every metropolis is essentially a limitless place, filled with flow and mobility, Marker’s works, described as intersection of different time and space and “otherness,” can be said that they inherit the nature of metropolis. Being filmmaker and traveler, Marker’s images of city are often characterized by “moving”, particularly by the experience of flânerie (stroll), which constitutes element of philosophical reflection of modern city by Walter Benjamin (1892-1940). In order to make this point clear, this dissertation deals with the films of Marker using Benjamin’s concept flânerie, as a major analyzing concept. Using four key concepts, threshold, allegory, and rag-and-bone man related to the experience of flânerie, this dissertation dissects the complex stratification of “space-time”, the “ephemeral character”, and the “art of collecting” in the images of Marker. Also, bringing the new concept “navigation”, as a renewed version of flânerie, the space of L’Ouvroir, the territorialities of Second Life, created in Marker’s last years of his life is analyzed. As a result, in the light of the issues raised by flânerie, we understand that Chris Marker problematizes the modernity and the system of cinematic representation based on the continual search for new visual experience.

Saxophonist Chris Cheek has been a reference for his work as a sideman with some of the most established jazz artists in the international jazz scene of the last twenty-five years. Despite his importance, there is lack of detail in the available publications about Cheek. The short length and journalistic character of the publications only produce surface descriptions of Cheek's style. There is a need to further describe the melodic elements present in Chris Cheek's style in order to have a better understanding of the implications and importance of these elements across the history of jazz saxophone and jazz pedagogy. In the past, several scholarly works have described the improvisational styles of jazz musicians using a multitude of analytical tools. The design of those studies often fails to provide a comprehensive view of the improviser's style because of the limited scope of the analyzed sources or the specific focus of the analysis. This analytical study presents a comprehensive view of Chris Cheek's style through the motivic and voice-leading analyses of six improvisations by the saxophonist. This design allows the study to discern between motivic development processes, melodic structures, formulaic material, and harmonic structures that belong to the saxophonist's idiom. By presenting the elements in Cheek's style, this study is able to show the importance of motivic and voice-leading coherence in jazz pedagogy as well as the importance of Cheek's style as a reference for lyricism.

The study sought to explore technology challenges faced by some rural women in Intsika-Yethu and Emalahleni local municipalities, under the Chris Hani District Municipality, in the Eastern Cape Province of South Africa. Available literature reveals that some rural women in South Africa and other developing parts of the world face technology challenges. The study is qualitative and focuses on two municipalities. Thirty-two women participated in the study. Data were collected through in-depth interviews and focus group interviews. Data were presented, analysed and discussed according to the themes derived from the sub-research questions. It emerged from the study that while most women in both municipalities were aware of ICT, they are however facing ICT access challenges in most areas of the municipalities. The findings do not depict the South African government national ICT policy goals which realises the importance of technology in the integration of services for the development of rural areas. Designing intervention programs for secondary school girls and some rural women, as well as monitoring and evaluating ICT programs in rural areas are recommended. / Communication Science / MA ( Communication)

Epidemiology of primary paediatric brain tumours has been studied extensively in developed countries of the west. Such studies are lacking in developing countries especially sub-Saharan Africa. This study seeks to establish the epidemiology of primary brain tumours seen among children that were treated at Chris Hani Baragwanath and Johannesburg Hospitals from April 1995 to April 2005. The records of 252 patients who presented with this condition during the study period were reviewed, for the following details: ● Demographic details such as age, gender and race ● Diagnosis and the date when it was made ● The follow-up period at the hospital(s)/clinic(s) ● The anatomical location of the tumours; supratentorial or infratentorial ● The treatment that was given which included mainly surgery for tumour removal or biopsy, radiotherapy, chemotherapy and others which included ventriculoperitoneal shunt, external ventricular drain insertion. ● The outcome of treatment included: - alive - dead - presumed alive - lost to follow-up It was found: ● That 225 patients had full demographic details of race, gender and age. ● That there was a slight male predominance among children with primary brain tumour. ● That the majority of children with brain tumours were black, followed by whites which is in keeping with the country’s demographics. ● The three most common tumours were astrocytomas, medulloblastomas and brainstem gliomas in the descending order of frequency. ● Medulloblastomas were the commonest tumours in the infratentorial region while craniopharyngiomas were commonest tumours in the supratentorial region. ● More children had infratentorial tumours ● Younger children were more likely to have infratentorial tumours. ● Majority of patients had surgery either for diagnosis or for diagnosis and treatment. ● Few patients were presumptively diagnosed clinically and by imaging modalities ● Combination therapy of surgery, chemotherapy and radiotherapy had the best survival outcome while chemotherapy as the only form of treatment had the worst outcome. ● The overall 5 year survival rate for all the study participants was much lower than that of their counterparts in the literature. ● Children who had craniopharyngiomas and astrocytomas had better survival. ● Mortality incidence was slightly higher for whites than blacks but that could have been skewed by a high number of blacks that was lost to follow-up. ● A higher infratentorial tumour prevalence than in the literature was noted. It was noted that racial prevalence of primary paediatric brain tumours follows population demographics. From the results of this study, there is a need for a better record keeping and improved patients follow-up. There is also a need for a larger epidemiological study in the two hospitals. There is need to establish a specialized paediatric unit which will help start a paediatric team comprising of a paediatric neurosurgeon, paediatric oncologist, paediatric intensivist and neuroradiologist with dedicated neuropaediatric ICU. Such a team given resources will improve survival outcome of children with brain tumours.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-02-22T11:43:54Z No. of bitstreams: 1 Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5) / Made available in DSpace on 2017-02-22T11:43:54Z (GMT). No. of bitstreams: 1 Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5) Previous issue date: 2017-02-17 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Chris Cunningham is the main subject in this thesis. Cunningham was one of the most influential and creative music video directors in the 90’s and early 2000’s. Visible throughout his art is the theme of the body and its innards - an important and wide discussion in contemporary culture studies. The hypothesis of this text is that the music video is one of the main audiovisual narratives of postmodern culture from the aspect of new aesthetics and artistic experiments. Cunningham adds original marks to the characteristics that constitute contemporary art, especially the one that has placed the body under interrogation and also the art object as waste. The contemporary art discussion in this thesis is inspired by psychanalysts Jacques-Allan Miller and Gerard Wajcman and the positioning of the object, and a new gaze at it is provided by Didi-Huberman. Concerning the role of the body in this setting, Santaella brings a contribution on it as an art support, besides presenting much of the specific problems of the body in culture. Raymond Bellour, Philippe Dubois and Arlindo Machado with their discussions around film and video allow the insertion of the music video as a language with its own characteristics and history, as the theorists Andrew Goodwin, E. Ann Kaplan and Carol Vernallis point out. The Lacanian theory provides a formal way to analyze and discuss the body from an instinctive perspective that drives the subject in the contemporary world. In order to prove this assertion and the hypothesis of this thesis, three semiotic-psychoanalytic analyses were done on the following works: All is Full of Love (1999), Flex (2000) and Rubber Johnny (2005) / Chris Cunningham é o objeto de investigação desta tese. Trata-se de um autor reconhecido de videoclipes e narrativas audiovisuais contemporâneas das décadas de 1990 e 2000. Seus trabalhos são permeados por uma temática de suma importância e ampla discussão no campo de estudos da cultura contemporânea: o tema do corpo e suas estranhezas. A hipótese que se coloca é a de que o videoclipe é um dos principais formatos narrativos audiovisuais do pós-moderno, sob o aspecto da produção de novas estéticas e experimentações artísticas. Tendo isso em vista, a obra de Cunningham acrescenta marcas originais às características próprias da arte contemporânea, especialmente aquela que vem colocando o corpo sob interrogação e o objeto enquanto dejeto. No que diz respeito aos debates que envolvem a arte contemporânea, há uma escuta daquilo que os psicanalistas Jacques-Allan Miller e Gerard Wajcman têm a dizer sobre o lugar do objeto, bem como sobre uma nova forma de olhá-lo, tal qual propõe Didi-Huberman. A respeito do papel do corpo neste mesmo cenário, Santaella traz uma contribuição sobre o mesmo como suporte da arte, além de apresentar as problemáticas específicas do corpo na cultura. Raymond Bellour, Philippe Dubois e Arlindo Machado aprofundam a discussão sobre cinema e vídeo, o que permite a inserção do videoclipe como uma linguagem com características e história próprias, conforme apontam os teóricos Andrew Goodwin, E. Ann Kaplan e Carol Vernallis. Toma-se, então, a perspectiva psicanalítica de orientação lacaniana para observar o corpo para além de sua função como suporte na arte: o das pulsões que tomam conta do sujeito no universo contemporâneo. De modo a comprovar tal afirmação e a hipótese desta tese, três análises de cunho semiótico-psicanalítico abordam os trabalhos: All is Full of Love (1999), Flex (2000) e Rubber Johnny (2005)

Made available in DSpace on 2016-04-26T18:18:16Z (GMT). No. of bitstreams: 1 SUELI CHAVES ANDRADE.pdf: 1899038 bytes, checksum: caec769991464b555c1e9cedd9bc20dc (MD5) Previous issue date: 2009-10-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The work from the video artist Chris Cunningham is the main theme of this research. The several audiovisual productions of this director include video installations, advertising and mainly music videos. There are two reasons for the choice of this object. The first one is related to the contemporary themes of Cunningham´s projects such as cyborg and freak bodies in the context of the post-human issue. The second reason is the possibility of placing the British as author in the audiovisual field. The music videos All Is Full Of Love (1999) and Rubber Johnny (2005) are the selected works for analysis of this research. The theoretical references over which this investigation is supported are related to the issues of authorship, post-cinema images and post-human body. Around the authorship discussion this research can be placed on debates proposed by the traditional French journal Cahiers du Cinéma during 1950s and the machine-artist relationship proposed by Vilém Flusser in Towards a Philosophy of Photography. To discuss the music video the selected authors are Arlindo Machado, E. Ann Kaplan and the pop culture experts Andrew Goodwin and Simon Fritch. Besides there are also the theorists Raymond Bellour (1997) who provides a place to the video and Philippe Dubois (2004) who suggests to think of it as a state and not as a product since it´s intimately tied to the device for which it has been designed. The approach to the body theme is based on works from Lucia Santaella, Paula Sibilia and Ieda Tucherman / O trabalho do videomaker Chris Cunningham é o tema principal dessa dissertação. A variedade de produções audiovisuais desse diretor engloba videoinstalações, publicidade e principalmente videoclipes. A escolha desse objeto dá-se por duas razões. A primeira pela contemporaneidade dos temas abordados nos projetos de Cunningham, como a temática dos corpos ciborgue e freak no contexto de discussão do pós-humano. Já a segunda razão é a possibilidade de situar o britânico como autor no campo audiovisual. Os videoclipes All Is Full Of Love (1999) e Rubber Johnny (2005) são as obras selecionadas para estudo analítico nesta pesquisa. As referências teóricas que embasam este trabalho estão ligadas ao tema da autoria, das imagens pós-cinemas e corpo pós-humano. No campo da discussão acerca de autoria, o trabalho situa-se nos debates propostos pelo tradicional periódico francês Cahiers du Cinema na década de 1950 e relação artista-máquina proposta por Vilém Flusser em Filosofia da Caixa Preta. Para se dissertar sobre o videoclipe, os autores selecionados são Arlindo Machado, E. Ann Kaplan e a dupla especialista em cultura pop Andrew Goodwin e Simon Fritch, além do teórico Raymond Bellour (1997), que dá lugar ao vídeo, e Philippe Dubois (2004) que sugere pensá-lo como estado e não como produto, na medida em que está intimamente atrelado ao dispositivo para o qual foi concebido. A abordagem do tema corpo respalda-se em textos das autoras Lúcia Santaella, Paula Sibilia e Ieda Tucherman

Le roman graphique, courant de la bande dessinée américaine, a récemment fêté ses trente ans. Ce format se caractérise d'abord par une rupture radicale avec la tradition du comic book, genre dominant du siècle dernier. Par contre, nous remarquons que certains romans graphiques parus récemment se réapproprient des éléments clés du comic book et les réintègrent à leurs récits. En résultent des oeuvres qui continuent à présenter des caractéristiques formelles et thématiques originales, tout en multipliant les clins d'oeil. Au-delà de la reprise de certains éléments, quelques auteurs se permettent une importante réécriture de la tradition et présentent une véritable déconstruction du « folklore » de la bande dessinée. L'étude de deux romans graphiques phares nous permet d'approfondir cette observation. Jimmy Corrigan: The Smartest Kid on Earth, de Chris Ware, et de David Boring, de Daniel Clowes, offrent plusieurs similarités. Notamment, l'inclusion à leur trame narrative de la figure du super-héros, porte-étendard du comic book traditionnel. Dans les oeuvres de Clowes et Ware, cette figure subit de grandes transformations, perdant la plupart de ses caractéristiques génériques. Les atteintes faites à cette figure sont nombreuses et nous nous éloignons considérablement du personnage positif et surpuissant auquel nous avons été habitués. Ces oeuvres présentent des êtres inadéquats, impuissants et immoraux. Leur étude nous indique que le motif du super-héros s'associe à une autre figure: celle du père absent. Dans ces romans graphiques, le quotidien de deux fils abandonnés est dépeint. Ainsi, à la manière des théories psychanalytiques indiquant que le père est d'abord une instance symbolique, le personnage du super-héros sert de « palliatif » et constitue une version symbolique du père absent. L'emprunt de cette figure à la tradition permet donc à ces romans graphiques de faire le pont entre l'enfance et l'âge adulte de leurs personnages et de les affranchir comme sujets. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Roman graphique, Comic book, Super-héros, Père symbolique, Littérature américaine, Chris Ware, Daniel Clowes.

La construction formelle de la bande dessinée n'est pas sans rappeler la mnémotechnique antique associée aux palais de mémoire (telle que décrite par Frances Yates en 1966), consistant à projeter des images dans des lieux mentaux. En effet, en organisant un espace (la page, le livre) en lieux distincts (les vignettes, les figures), la bande dessinée a toutes les caractéristiques d'une architecture : une architecture mise au service d'un temps narratif. Partant de l'hypothèse que la bande dessinée permet, par sa construction même, une expression particulière de la mémoire, quatre œuvres de Chris Ware, dessinateur américain contemporain, seront analysées. Jimmy Corrigan et Quimby the Mouse mettent en lumière le rapport entre certaines figures architecturales (lieux diégétiques) et l'expression de la mémoire des personnages. Qu'ils soient labyrinthiques ou qu'ils s'apparentent aux palais de mémoire, les lieux sont les signes d'un passé révolu. Ces figures occupent parfois l'espace de la page d'une manière structurante, transférant leurs propres caractéristiques architecturales sur la forme même du récit. Building Stories et Lint, chapitres plus récents de séries encore en construction, permettent de fouiller davantage les contaminations possibles entre les lieux du récit et les lieux de la page. Les théories cognitives de Daniel L. Schacter offrent plusieurs concepts-clés pour discerner les mécanismes mémoriels mis en place dans ces récits. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : bande dessinée, roman graphique, Chris Ware, Thierry Groensteen, mémoire, architecture, subjectivité, palais de mémoire.