Partindo da definição de discurso interior e da análise do processo de formação de conceitos abstratos desenvolvidos pelo psicólogo Lev Vygotsky, faz-se uma aproximação com a teorização do cineasta Sergei Eisenstein sobre as possibilidades de incorporação do discurso interior pelo cinema. Analisam-se as relações entre o conteúdo eminentemente icônico das imagens cinematográficas e os aspectos sensoriais não-verbais presentes no discurso interior, indicados por Vygotsky, com o objetivo de investigar as formas como o discurso cinematográfico articula seus recursos expressivos através da montagem, visando reproduzir em sua organização formal os processos cognitivos que têm lugar no pensamento e que são expressos pelo discurso interior; para isso, o foco de análise centra-se nos métodos de montagem estabelecidos por Eisenstein. Investiga-se também os modos de produção de sentido através da articulação de signos icônicos não-verbais pela montagem cinematográfica, ressaltando o papel que os componentes afetivos da cognição e do intelecto desempenham no processo de produção de conceitos pelo cinema, especialmente o cinema caracterizado nos textos e reflexões teóricas de Eisenstein. Conclui-se que o tipo de discurso interior produzido pelo cinema em geral e o eisensteiniano em particular é aquele que foi definido por Vygotsky como discurso cotidiano ou espontâneo, motivado afetivamente e ligado ao contexto da situação concreta em que emerge.

Orientador: Rubens Jose Souza Brito / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T08:53:11Z (GMT). No. of bitstreams: 1 Ribeiro_WalmeriKellen_M.pdf: 210044 bytes, checksum: 634a7edde49bf1577bb4e714d0b78c08 (MD5) Previous issue date: 2005 / Resumo: Percorrendo caminhos que vão da linguagem à criação, de aspectos técnicos e materiais à organicidade humana, este estudo busca apontar princípios que contribuam para o desenvolvimento do trabalho do ator para a cena cinematográfica, entre eles a representação naturalista, a organicidade, a construção da personagem versus a disponibilidade do ator e a adequação da ação e do gesto. Em busca desses princípios nos enveredamos tanto pelo caminho prático quanto pelo teórico, buscando nas teorias teatrais, cinematográficas e semioticistas, embasamento e fundamentação, para a solidificação da relação entre o ator e a linguagem cinematográfica. Portanto, ¿À procura da essência do ator¿ parte de um estudo teórico-prático e de um olhar sobre o processo de preparação de atores empregados ao cinema brasileiro contemporâneo, com o objetivo de pesquisar o trabalho do ator em favor da singularidade e da poética da arte de representar aliada à técnica e à tecnologia cinematográfica / Abstract: Traveling roads that are going from the language to the creation, of technical and material aspects to the human organicity, this study search to aim beginnings that contribute to the development of the actor's work for the movie scene, among them the naturalness, the organicity, the construction of the character versus the donation and the actor's readiness and the adaptation of the action and of the gesture. In search of those beginnings in the so much traveled for the practical road as for the theoretical, looking for in the theatrical theories, movies and semiotics, grounds that it solidifies the relationship between the actor and the movies scene. Herefore, " À procura da essência do ator " essence leaves of a theoretical-practical study and of a glance on the movie scene contemporary Brazilian with the objective of researching the actor's work in favor of the singularity and of the poetic of the art of to represent formed an alliance with the technique and the technology the movies / Mestrado / Mestre em Artes

Orientador: Jose Mario Ortiz Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-05T21:08:40Z (GMT). No. of bitstreams: 1 Marson_MelinaIzar_M.pdf: 529081 bytes, checksum: 701600cbe75302ac1802106a7f7d76ab (MD5) Previous issue date: 2006 / Resumo: Essa dissertação apresenta uma análise das relações entre Cinema e Estado no Brasil entre 1990 e 2002, período que corresponde à elaboração e à institucionalização de uma nova política cinematográfica. A produção cinematográfica no Brasil enfrentou uma grave crise no início dos anos 90, após a extinção dos órgãos estatais financiadores e fiscalizadores (Embrafilme e Concine). Devido à implantação de medidas de renúncia fiscal, que se traduziram num significativo aumento da produção de filmes, o cinema brasileiro ¿retomou o fôlego¿ e passou a ser conhecido como o Cinema da Retomada. Através das movimentações internas do campo cinematográfico e de seu constante diálogo com o Estado, essas medidas foram aperfeiçoadas e incorporadas a um novo órgão estatal, a Agência Nacional de Cinema (Ancine) criada em 2001 e efetivada em 2002. Por meio de análises dos discursos elaborados pelo campo cinematográfico e da documentação oficial, esse trabalho aborda o Cinema da Retomada enquanto resultado da nova concepção de política cinematográfica e de novas configurações e jogos de poder dentro do campo cinematográfico, percebidas em uma nova forma de fazer cinema no Brasil / Abstract: This work presents an analysis of the relationship between Cinema and State in Brazil between 1990 and 2002, the period that corresponds with the elaboration and the institutionalization of new cinematographic politics. The cinematographic production in Brazil faced a grave crisis in the beginning of the nineties, after the extinction of the financial state agencies and inspectors (Embrafilme and Concine). Thanks to the introduction of measures of fiscal resignation, which translated into a significant increase in the production of films, Brazilian cinema "retook it¿s breath" and became known as the Cinema da Retomada (Cinema of the Retaken). Through the internal movements of the cinematographic field and its constant dialogue with the State, these measures were perfected and incorporated into a new state agency created for the Brazilian cinema, the National Agency of Cinema (Ancine) accomplished in 2002. Through the analysis of the discourse of the cinematographic field and official documentation, this work approaches the Cinema da Retomada (Cinema of the Retaken) as a product of a new conception of cinematographic politics and new configurations and power games within the cinematographic field ¿ new conceptions and configurations that, single-handedly, altered the form of filmmaking in Brazil, and Brazilian cinema itself / Mestrado / Mestre em Sociologia

Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-27T11:12:50Z (GMT). No. of bitstreams: 1 Vadico_Luiz_M.pdf: 5669646 bytes, checksum: 0a9c677872a415d1324fe63b3c0ace2a (MD5) Previous issue date: 2000 / Resumo: Este é um panorama sobre o tema da viagem no tempo, baseado em filmes de produção hollywoodiana, visando perceber como se construiu socialmente esse imaginário. Partindo de um levantamento da produção cinematográfica que contou com um total de 40 filmes, foram mapeadas as suas principais características e estabelecidos os seus pontos marcantes. Elaborou-se então um panorama sobre o tema da viagem no tempo abarcando o período entre 1950 e 1998, nele foram destacadas e analisadas suas prin',c- ipais produções: "H.G. Wells: A Máquina do Tempo"(1960); "Planeta dos Macacos" (1968); "Os 12 Macacos" (1995), entre outras. Procurou-se, no decorrer do trabalho, relacionar estes filmes à sociedade e história americanas recentes / Abstract: This is a view about the theme of travei in time, based on Hollywood movies, concerning about the perception and the social construction of this imaginary field. Starting from a research about the cinematographic production that counted on aproximately 40 movies, we have organized the mainly characteristics and we established their most important factors. We have made a view concerning about . the theme of travei through time in the period from 1950 to 1998, pointing and analising the mainly productions: "The Time Machine"(1960), "Planet of the Apes"(1968); "12 Monkeys"(1995), among others. We intended, in thís work, to make a relation between these movies and the North American history and society / Mestrado / Mestre em Multimeios

The theory of film music and its terms and categories have not yet been applied to or tested in more recent genres of film, and this study tests the application of the terms auteur and melomane in the films of Robert Rodriguez (Once Upon A Time In Mexico, Sin City and Planet Terror) and Quentin Tarantino (Kill Bill V. 1 and 2, Death Proof). Both directors have a distinct musical stance, and through an examination of the above-mentioned films, their influences and sonic impact are explored. The working question of this thesis, in the abstract, is whether or to what extent the terms, concepts and directorial categories of film-music theory apply to this recent repertoire. This study explores the similarities and differences in the relationship between the music in the films of the auteur and melomane while exploring the fields of musical narrative present in contemporary film.

This thesis aims to be a critical investigation into the representation of bullfighting in the history of Spanish cinema, through the framework of Antonio Gramsci’s concept of cultural hegemony (Gramsci [1929-1935] 2007), including the concept of ‘orientalism’ (Said 1978), and the study of identity in film genre and national cinema. I explore how some dominant cultural elements, such as male virility, ultra-conservative Catholicism and political nationalism, exerted their influence on films about bullfighting throughout history. With a close textual analysis of an extended filmic corpus of cine taurino, which includes fictions and documentaries, popular films and cinéma d’essai, and comparative studies with other national cinemas, I investigate which predominant meanings have been conveyed through visual representations of bulls, bullfighters and bullrings, and how these meanings can find their roots in bullfighting culture itself and in cultural movements of 20th Century Spain. As a brand-new study in the field of Spanish Film Studies, with little literature available, the investigation explores all the three major eras of Spanish film history, which correspond to specific political situations in the Spanish state: - The pre-Franco era (1896-1939), focused on the genesis of the cinematic genre and subgenre and on the controversies about the macro-genre of the filmic españolada in silent films (Navarrete Cardero 2009); - The Francoist dictatorship (1939-1975), focused on the political evolution of bullfighting representation in national cinema as a metaphor for class struggle; - Post-Franco cinema (1975 - 2012), focused on the new wave of filmmakers who portrayed gender reversal in virility, bravery and strength (now conferred to the literal or symbolic matadora), using formal elements of the stereotypical representation of Spanishness.

This dissertation examines representations of women and children in South African films about HIV and AIDS, paying particular attention to issues relating to the advancement and empowerment of the two groups. The dissertation focuses on two films: Yesterday (Darrell Roodt, 2004) and Life Above All (Oliver Schmitz, 2010). These two films represent marginalised communities and identities. Yesterday focuses on the experiences of rural women, while Life Above All focuses on women and children living in a small town on the urban periphery. In order to contextualise the two films as well as the textual and theoretical analysis found in the body of the dissertation, the first chapter provides a brief outline of some of the concerns regarding the representations of women and children in South African films about HIV and AIDS. These concerns include the debate surrounding the authenticity of the representations of poor, black women by male, middle-class, white filmmakers, as well as the authenticity of the representations of children by adult filmmakers. Chapter 2 provides additional contextual information by defining and considering the various concepts and theories on which the study is built. These include the naturalist, humanist and pluralist methods of representing HIV/AIDS, as well as the semiotic and discursive approaches to analysing audio-visual texts. Chapter 3 consists of a close textual analysis of Yesterday. The chapter problematises representations that place too much emphasis on marginal communities‘ need for external help. It argues that the film‘s focus on generating sympathy from external viewers with the 2 hope that they might be persuaded to help women like the film‘s main character, Yesterday, hinders the promotion of empowerment. Chapter 4 critically analyses the representation of children in Life Above All, with special attention paid to self-development and agency. This chapter argues that the film neglects children‘s self-development and long-term empowerment by placing too much value on the virtues of selfless sacrifice. Chapter 5 concludes that the use of stereotypes and the prioritisation of easy to understand educational information and narratives in South African films about HIV/AIDS hinder a deeper understanding of identities as well as the promotion of women‘s and children‘s empowerment. Effective collaboration between filmmakers and the represented groups would lead to representations of identities that are more truthful to the complexities of the experiences of those infected and/or affected by HIV/AIDS. In addition, I argue that increased participation of female filmmakers would lead to more diversified representations of women‘s and children‘s identities and experiences.

I wish to present a study of the different literature regarding national culture, African cinema and postcolonial identity and explore how it relates to local cinema in Namibia. How have Namibian films contributed to this debate? The films 100 Bucks and Try contributed to the creation of postcolonial identity and national culture in independent Namibia. This dissertation will focus primarily on the aesthetics, themes and stories produced in Namibia since 2000 as well as how our storytelling and funding models can learn from other industries throughout the world. I will undertake an examination of past works and writings on the topic of national culture in post colonial African states, nationalism and African identity.

Includes bibliographical references. / This dissertation investigates representations of Black South African lesbians in contemporary local documentary films. In order to do so, the author focuses on two films: Breaking out of the Box (dir. Zethu Matebeni and S’bu Kheswa, 2011) and Difficult Love (dir. Zanele Muholi and Peter Goldsmid, 2010). These films are analysed in the light of a number of questions regarding the depiction of Queer Black women, including: the frequency and qualities of such representations, in which kinds of films such identities are represented, which techniques such films utilise, and which themes are addressed. One issue addressed in both films is the matter of so-called “corrective” rape and this dissertation examines the complexity of depicting this specific theme. Because the subject matter is related to a number of distinct yet intersecting subjects, resources from a variety of fields are utilised – including, but not limited to, Queer theory in general and research on Queer Film specifically, documentary film theory, and historical studies of South African cinema. The films are analysed within the context of the socio-political environments in which they were created as well as in relation to theoretical contexts relating to representation in film and other media. Findings indicate that the representation of Black South African lesbians has grown in recent local documentary films. A significant portion of these films utilise personal approaches to documentary filmmaking, which proves particularly suitable for depicting the sensitive and personal nature of the subject matter. The films challenge prevailing beliefs about homosexuality within the African context and defy notions of essentialism in favour of highlighting diversity. Juxtaposed with the growth in documentary film representation, Queer female representation in local fiction film is negligible. Depictions of Queer male identities are comparatively more widespread, yet even these still tend to rely on negative or onedimensional stereotypes. On a more encouraging note, there appears to be an increase in representation of Queer Black South African documentary filmmakers, which constitutes an increase in the variety of voices represented in a previously limited (and limiting) film industry. These filmmakers’ work also opens interesting questions around representation and selfrepresentation.

The paper argues that the South African television series, Ubizo: The Calling (d/Krijay Govender, 2007) blends elements of psychological thrillers, horrors as well as the gothic genre. The relationship of these subgenres is discussed in this paper in the context of the African spiritual practice of divine calling that is narrated by the series. The paper concludes that genre classification in this series is left unclear, whether it is horror or psychological thriller as suggested by its producers. For most parts of the series, horror conventions can be identified from the way the characters are set to the types of props and iconographies, as well as the set design and shot sizes of most scenes. Towards the end of the series, however, it changes focus thematically to fit a category that cannot be confined to one genre type. The effort of this research is to present concerns about the way in which some African spiritual practices are likened to sorcery due to the obsession with madness and ghosts. I used Indigenous Knowledge Systems together with genre analysis to arrive at my findings which were important in shedding light to the fact that some genres become less effective when they have been ideologically moved to other cultures. Upon on embarking on this research, I wanted to arrive at the certainty that western borrowed genres were bastardising African practices using foreign jargon and visuality to depict African spirituality. Indeed, the research was constructed in a manner that it simply wanted to confirm something that I, the author desperately wanted to believe. However, my own work has challenged me to acknowledge that these two can coexist.