Made available in DSpace on 2016-06-02T20:23:14Z (GMT). No. of bitstreams: 1 5137.pdf: 2072455 bytes, checksum: 8e282c598560da1ed973722c0211593c (MD5) Previous issue date: 2013-04-04 / Financiadora de Estudos e Projetos / This study's main objective is to map and analyze the activities of the Cineclube Universitário de Campinas [Campinas College Cine-Club], during the years of its existence, from 1965 to 1973. For this, the research approaches the trajectory of cine-clubs in Brazil since the Chaplin-Club until the emergence of the Cineclube Universitário de Campinas; reports and analyzes the exhibitions, debates and courses promoted by the cine-club; exposes and examines texts of the newspaper Cine Clube, published by the Cineclube Universitário de Campinas; describes how were produced its three short films, Um pedreiro, O artista and Dez jingles para Oswald de Andrade, analyzing them in relation to the influences received by contemporary cultural movements. The dissertation uses bibliography on cinema, especially those related to cine-clubs in Brazil, documents and copies of newspapers and movies of the Cineclube Universitário de Campinas, and testimonies of its members. As a result, we conclude that the Cineclube Universitário de Campinaswas an important contribution to Campinas cultural field during the 1960s. / O presente trabalho tem como objetivo principal mapear e analisar as atividades realizadas pelo Cineclube Universitário de Campinas (CCUC), durante os anos de sua existência, de 1965 a 1973. Para isso, a pesquisa aborda a trajetória do cineclubismo no Brasil, desde o Chaplin-Club até o surgimento do CCUC; relata e analisa as exibições, debates e cursos promovidos pelo cineclube; expõe e examina os textos do jornal Cine Clube, publicado pelo CCUC; descreve a maneira de produção de seus três curtas-metragens, Um pedreiro, O artista e Dez jingles para Oswald de Andrade, analisando-os com relação às influências recebidas por movimentos culturais contemporâneos a sua realização. A dissertação utiliza como base bibliografia sobre cinema, especialmente, a relacionada ao cineclubismo no Brasil, documentos e cópias dos jornais e filmes do Cineclube Universitário, além de depoimentos de seus integrantes. Como resultado, concluímos que o CCUC foi uma importante contribuição ao campo cultural campineiro na década de 1960.

Cette thèse explore d’abord les conditions de la disparition des salles de cinéma traditionnelles en Afrique de l’Ouest et spécifiquement au Tchad, en pointant les causes multifactorielles : technologiques, économiques, politiques et financières qui ont conduit à la transformation de ces salles en locaux commerciaux ou en lieux de culte. Elle examine les processus de mise en place de structures particulières au continent africain : centres culturelsrégis par des congrégations, par des ambassades ou par l’Etat tchadien, mais surtout « vidéoclubs» ou « ciné-clubs », établissements informels de diffusion cinématographique omniprésents dans le paysage urbain en Afrique. L’analyse détaillée de ces dispositifs comme entreprises familiales, comme lieux de sociabilité et comme vecteurs d’une forme abâtardie de culture cinématographique est au cœur de cette recherche. Elle a permis d’identifier les logiques économiques de ces acteurs en tant que maillons d’une chaîne qui part des entreprises nigérianes ou camerounaises de reproduction de supports piratés et aboutit au public lui-même.A partir d’entretiens conduits avec un échantillon de spectateurs, nous avons étudié leurs habitudes de fréquentation, leurs comportements, mais aussi l’expression de leurs attachements aux films qui leur sont proposés. Ceci constitue le second axe fort de ce travail,notamment en ce qui concerne le rapport qu’entretiennent ces publics avec le cinéma tchadien et, plus largement, avec la fiction cinématographique. Cette thèse pose enfin les bases d’une réflexion sur le rôle que pourrait jouer l’Etat pour améliorer les conditions de diffusion et de réception du cinéma africain sur le territoire national. / This study explores the conditions surrounding the closure of traditional movie theatres inWest Africa, particularly in Chad. It will look at the multi-facetted causes, such as thetechnological, economic, political and financial reasons which have led to the transformationof these cinemas into shops or places of worship.It examines the process of setting up film-viewing alternatives that seem typical of Africa:cultural centers run by church congregations, embassies or the Chadian government andespecially “video-clubs” or “cine-clubs”, informal establishments of cinema distributionfound throughout the African urban landscape.The detailed analysis of these devices as family businesses, social venues and vectors of abastardized form of cinema culture is at the heart of this research. It allows us to identify theeconomic impact of these players as links in the process that takes a movie from itsreproduction in pirated form by Nigerian or Cameroon companies through to screening beforea Chadian audience.Through interviews conducted within a sample of spectators, we have studied their cinemahabits, behaviour and attachment to the films proposed.The latter is the second main axis of this study, particularly concerning the relationship thatthese audiences maintain with Chadian cinema, and, in a broader context, with cinema fictionitself. This thesis lays the foundations for a reflection on the role that the State could play inimproving the conditions of distribution and reception of African cinema throughout Chad