Este estudo aborda a relação cinema e identidade cultural através da análise do cinema chileno da década de 1990-2000, estabelecendo como foco de pesquisa os cineastas como mediadores culturais, que transitam pelos diferentes mundos e submundos do país, contribuindo para a construção e reconstrução da identidade chilena durante o período da transição democrática. Acolhendo a proposta teórico metodológica de Gilberto Velho (1999, 2001), foram estudadas as trajetórias de sete cineastas chilenos inseridos no seu contexto histórico, indo além da representação cinematográfica. A identidade chilena observada e construída pelos cineastas é um processo aberto, ressaltando a diversidade de traços identitários do país do final do século XX e início do XXI, que falam de uma multiplicidade de matrizes culturais. Coexistem, assim, o urbano, o rural, o insular, o barroco, o racionalista, o moderno e o tradicional, o culto e o popular e o massivo, registrando uma identidade híbrida que admite a valorização do local e o resgate de um imaginário próprio com referentes da memória coletiva e da memória nacional, no tempo presente com uma perspectiva do futuro.

Made available in DSpace on 2016-04-26T14:55:18Z (GMT). No. of bitstreams: 1 Daniel Tabarani Santos Milanezi.pdf: 1513450 bytes, checksum: 8f5c6a283c49366c7ebbe72654295667 (MD5) Previous issue date: 2015-04-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Based on an esthetical-political analysis of the film Solaris, and an investigation on the personal and artistic life of Andrei Tarkovsky, within a historical and political context situated in the Soviet Union from the 1960s through the 1990s, it s proposed in this research to emphasize the shock between this artist and the Soviet State, with the purpose to demonstrate a political presence in Tarkovsky s work. Tarkovsky s own writings, the philosophical and esthetical concepts of Gilles Deleuze, the political notions of political presence of the work and esthetization of politics, written by Professor Miguel Chaia, give support to the foundations of this dissertation, making it possible to create: a discussion about Tarkovsky s conceptions of art and cinema; an analytical cut of the film Solaris, showing the esthetical, political, historical problems involved in this work; an overview of the Soviet cinematographic industry, debating the relationship between the artist Tarkovsky and the authoritarian bureaucracy of the Soviet State, as well as the effects of this as a political act of resistance made by the filmmaker through his filmography / A partir de uma análise estético-política do filme Solaris, e de uma investigação sobre a vida pessoal e artística de Andrei Tarkovsky, dentro de um contexto histórico-político situado na União Soviética dos anos 1960 até a década de 1990, propõe-se, nesta pesquisa, destacar o embate entre esse artista e o Estado soviético, com o objetivo de demonstrar uma presença política da obra de Tarkovsky. Os escritos do próprio Tarkovsky, os conceitos filosóficos e estéticos de Gilles Deleuze, as noções políticas de presença política da obra e estetização da política, trazidas pelo Prof. Miguel Chaia, dão embasamento para a fundamentação deste trabalho, possibilitando: uma discussão sobre as concepções de arte e cinema do artista Tarkovsky; um recorte analítico do filme Solaris, mostrando as questões estéticas, políticas, históricas envolvidas na obra; um panorama da indústria cinematográfica soviética, problematizando a relação entre o artista Tarkovsky e a burocracia autoritária do Estado soviético, assim como os efeitos disso enquanto ato político de resistência por parte do cineasta através de sua filmografia

Este trabalho apresenta o roteiro do longa-metragem Uma Bicicleta, Minha Mãe e Dois Cinemas, que aborda o cotidiano de uma família que mora e trabalha em um cinema de bairro em Curitiba. Paralelamente ao roteiro, foi desenvolvida uma pesquisa sobre a história dos cinemas de rua de Curitiba, privilegiando depoimentos de profissionais que trabalharam na atividade exibidora. Os relatos influenciaram o formato final da dramaturgia, fornecendo indicações para a criação de personagens e situações, delimitando ainda as épocas onde acontece a estória. O roteiro resulta, portanto, em um tratamento ficcional dos testemunhos obtidos, à medida do possível o mais próximo dos relatos obtidos. A dramaturgia é aplicada na transposição do relato para o universo ficcional. / This paper presents the script of the Uma Bicicleta, Minha Mãe e Dois Cinemas, which addresses the life of a family who lives and works in a cinema district in Curitiba. Parallel to the script, it was developed a research on the history of movie theaters of Curitiba, favoring testimony from professionals who worked in the exhibitor business. The reports influenced the final form of the drama, providing directions for creating characters and situations, limiting even the times where the story happens. The script is, therefore, a fictional treatment of the evidence obtained, the closest to the reports obtained. Dramaturgy is applied in the transposition of the report to the fictional universe.

Este trabalho dedica-se ao entendimento da construção do conteúdo disponibilizado pelos meios de comunicação e sua recepção pela audiência. Procurou-se compreender o processo da apropriação de um fenômeno social, a formação de grupos sociais informais e não-institucionais pelo cinema, e de que modo o discurso criado é recebido pelo próprio grupo social representado no filme. Para tanto, foram tomados como objetos de pesquisa e análise o grupo dos praticantes da arte marcial jiu-jitsu, o filme Red Belt e o experimento empírico de projeção do filme a um grupo focal composto por um subgrupo dos indivíduos pesquisados. Como fundamentação teórica, foram cruzadas proposições de autores da sociologia, como Michel Maffesoli e sua confirguração e caracterização das Tribos Urbanas; da comunicação, expressas nas ideias de Theodor Adorno e Marshall McLuhan; e dos estudos culturais e de recepção, representados pelos textos de Stuart Hall. A metodologia aplicada foi essencialmente qualitativa, com uso de técnicas de pesquisa etnográfica, sobretudo nas pequisas de campo realizadas no acompanhamento dos treinamentos da equipe de jiu-jitsu do Professor Sazinho e durante a realização do grupo focal. Em busca dos objectivos estipulados, os componentes do objeto desta pesquisa foram contextualizados, segmentados e analisados: o fenômeno da formação dos grupos sociais urbanos; o contexto histórico-social e as características do grupo de praticantes de jiu-jitsu em Fortaleza; o filme Red Belt e a construção do discurso proposto por este. Essas etapas serviram de preparação à fase final da pesquisa, a realização do grupo focal, onde representantes – os praticantes de jiu-jitsu – foram confrontados com sua representação – o filme Red Belt. [...]

Orientador: Luciane de Paula / Banca: Marina Célia Mendonça / Banca: Grenissa Bonvino Stafuzza / Resumo: Ao considerar o cinema musical como um gênero fértil para o estudo de diálogos entre gêneros, esta pesquisa reflete acerca do filme musical Across the Universe (2007), de Julie Taymor, em sua arquitetônica (forma, estilo e conteúdo). O gênero cinema e o gênero canção encontram-se em constante diálogo no musical e, especificamente, no corpus aqui trabalhado. As canções inseridas no filme são todas compostas pela banda britânica The Beatles. As relações dialógicas e as genericidades reconhecidas nesta pesquisa são trabalhadas sob a ótica dos estudos do Círculo de Bakhtin e buscam analisar como o filme Across the Universe incorpora as canções de The Beatles e de que maneira o musical dialoga com a letra de cada canção e com cada situação em que são interpretadas no filme. Sob a abordagem dialógica do Círculo, a análise do filme em questão possibilita reconhecer o cinema como característico por ser composto por outros gêneros que a ele se incorporam e fundem em sua composição, como ocorre em Across the Universe, em que a canção e a dança, por exemplo, são parte da construção do cinema musical / Abstract: Considering cinema as a fertile genre for the studies of dialogue between genres this research thinks about the musical film Across the Universe (2007), by Julie Taymor, in its architectonic (form, style and content). The cinema genre and the song genre are in constant dialogue in the musical film and specifically in the corpus chosen. The songs within the movie are all composed by the british band The Beatles. The dialogical relations and the genres recognized in this research are analyzed within the perspective of the studies of the Bakhtin Circle Bakhtin, and aim to analyze how the movie Across the Universe incorporates the songs by The Beatles and in which way the musical dialogues with the lyrics of each song and with each situation in which they are sung in the movie. Within the dialogical perspective of the Circle the analysis of the movie makes it possible to recognize the cinema as composed by other genres that are incorporated within its composition, such as in Across the Universe, in which song and dance are part of the composition of the musical film / Mestre

The primary task of my dissertation is to clarify the relationship between phenomenology and poststructuralism. In doing this, I analyze the role of paradox in both traditions. I show, for example, that Merleau-Ponty's arguments for the paradoxical nature of perception are to be seen as a continuation of Husserl's fundamental project, a project I claim is itself implicitly motivated by an effort to account for paradox. Merleau-Ponty thus makes explicit what was already implicitly at work within Husserl's thought Meleau-Ponty argues, in short, that to account for the difference between self and other requires recognizing the paradoxical unity of self and other that is the condition for this difference. Furthermore, although Husserl argues for a paradoxical unity of self and other, it is a non-corporeal unity--i.e., a self-constituting consciousness, whereas Merleau-Ponty claims this paradoxical unity is corporeal, i.e., it is the perceiving body. It is this move which Merleau-Ponty believes resolves the problems he sees in Husserl's account of the other As I turn to the poststructuralist tradition, my focus is primarily on the work of Deleuze. I show that there is a fundamental difference between Deleuze and phenomenology's understanding of paradox. This difference reflects phenomenology's adherence to traditional transcendental philosophy. In essence, Deleuze feels that neither Husserl nor Merleau-Ponty adequately address the role of paradox because they each claim it is conditioned by the identity of something more fundamental: i.e., the transcendental ego for Husserl, the body (Phenomenology of Perception) or Being (The Visible and the Invisible) for Merleau-Ponty. Deleuze, however, argues that the fundamental transcendental condition is paradox itself, and it is this move which characterizes the contrast between Deleuze's transcendental philosophy of difference and Husserl and Merleau-Ponty's transcendental philosophy of identity In addition to these discussions, I on several occasions refer to the work that has been done in the analytic tradition. While being sensitive to the differences between the analytic and continental traditions, I reveal points of contact or overlap, and hence I attempt to lay the groundwork for the possibility of future dialogues / acase@tulane.edu

The cinematic adaptation of West African Francophone literature offers an impetus to focus on African culture. This study begins with an overview of the development of West African Francophone literature followed by a discussion of cinema from this region. Furthermore, it examines the techniques of how West African Francophone directors adapt the novel or short story to the screen. To appreciate this craft, a detailed analysis of both the characteristics and procedures of adaptation is offered. / The study is divided into five parts. The Introduction is followed by three chapters. Each chapter presents the filmmaker's work(s) along with its literary source. Chapter One analyzes three films by Ousmane Sembene: La Noire de ..., Le Mandat, and Xala. Chapter Two examines Daniel Kamwa's Boubou-Cravate. Chapter Three investigates films directed by Momar Thiam: Sarzan, La Malle de Maka-Koli, and Karim. The final section comprises the conclusion. / Each film and its literary source are analyzed according to its point of view, themes and tone taking into account various cinematographic techniques used by the filmmaker who translates the literary text to the screen. Thus, we will discover not only which approach to adaptation (literal or creative) the director employed but also what impact the oral tradition had on the filmmaker's interpretation of the literary work thereby ascertaining how he develops a new artistic creation. / Source: Dissertation Abstracts International, Volume: 52-08, Section: A, page: 2943. / Major Professor: Victor Carrabino. / Thesis (Ph.D.)--The Florida State University, 1991.

France and Australia possess such distinctive national traits that they are not habitually compared in relation to their history, identity and culture. However, their national cinemas reveal that they have much in common. A significant number of recent films from both nations bear the mark of a similar obsessional quest for national identity that is linked to the exploration of a troubled colonial past. This shared preoccupation constitutes the starting point for this thesis, which compares the representation of colonial history in the cinema of France and Australia since 1970. It is of course evident that the two nations have had widely differing experiences of colonisation. Modern France is among the ranks of the major empire builders, and Australia is the product of one of Great Britain's most successful colonies. If neither nation can forget its colonial past, it is also for different reasons: France is the principal destination of migrants from her former colonies, and Australia faces landrights claims from her indigenous populations. If these differences provide the distinct social, political and geographical contexts of French and Australian cinema, they do not, however, impinge upon the stylistic and ideological analysis of their colonial thematics. For the purposes of this thesis, three fundamental criteria determine the inclusion of a film in the corpus: it must have an historical colonial setting; its narrative must focus principally on aspects of the colonisation process; and its director must be a descendant of the former colonisers. Around a dozen films released since 1970 in each country have been identified as matching these criteria and, for the purposes of the thesis, have been called postcolonial films. The content and structures of the films dictate the analytical approach and theories are drawn upon as tools when needed. These theories are widely varied across the disciplines and the theorists include Pierre Sorlin, Edward Saïd and Albert Memmi. The approach to representing colonial issues varies widely, with the majority of the films in the corpus neither appearing to confront openly nor to support the ideology of colonialism. Two exceptions are Coup de torchon (Tavernier, France, 1981) and The Chant of Jimmie Blacksmith (Schepisi, Australia, 1978). More typical of the ambivalent treatment of colonialism are the popularly attended films such as Indochine (Wargnier, France, 1991) and Picnic at Hanging Rock (Weir, Australia, 1975). In the first chapter an analysis of the relationship of the films to documented history demonstrates that French films are frequently set during the period between 1910 and 1950, and Australian films during the last half of the nineteenth century. The following chapter examines the relationship of the colonisers to their colonised lands and asks if the exceptional attention paid in all the films to the colonial geography has the effect of assimilating an alien landscape into the Western settlers’ culture and mythology. The following two chapters address the core element of colonial life - in Franz Fanon's terms - its division into two worlds. The first of these chapters examines the interaction between the coloniser and the colonised through individual relationships between the two, and addresses the problem that all of these relationships end in permanent separation. The following chapter explores the interaction between coloniser and colonised as social groups that are divided by notions of race and discusses the general epistemological problem of the representation of the Other. The fifth chapter analyses the symbolic mechanisms being used to structure the films and manipulate the unconscious effect on the viewer. For example, there are a number of films with journeys of some kind, orphan-like characters and characters with strong noble savage qualities. Finally, the sixth chapter compares two of the films to the books from which they are derived. The object of this double comparison is to isolate differences in the films which are better explained by changing colonial politics than by inherent differences between cinema and literature. In the conclusion, it is argued that there appear to be few sustained attempts at confronting and resolving the problematic aspects of colonialism’s legacy. This is especially evident from the predominance of fictitious stories over the depiction of actual documented events. This tendency in both the French and Australian cinemas to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and thus avoiding the necessity of dealing with it. A further notable tendency was the preference for selecting certain periods and avoiding others, hence stripping the colonial past of its most embarrassing aspects. For example, no film could be found which showed the initial phase of the establishment of a colony. Despite the rarity of films released in France and Australia that openly challenge colonialism as a whole, many signs are evident throughout these films that the practices and values defending or justifying colonisation are nevertheless being questioned. / Thesis (Ph.D) -- School of Humanities, 2003

Parade's End, a screenplay accompanied by an exegesis exploring institutional and ideological violence within the war film genre. The problem to solve with my exegesis and subsequent screenplay was how to create a unique visual form for the treatment of violence. This was done by examining screenwriting techniques that have been used to explore the psychology of violence and aggression within the war film genre. I identified and examined those techniques used to depict vioence within the war film genre, specifically those discussed by film theorist Stephen Prince. Stephen Prince in Savage cinema: Sam Peckinpah and the rise of ultraviolent movies in America examines the cultural and subsequent technical shifts that occurred in the late sixties towards the treatment of violence in contemporary cinema. He focuses on specific techniques that he believes radicalised the depiction of vioence and its aftermath in the cinematic form. In Visions of empire: political image ry in contemporary American film, Prince examines those techniques that he believed explored the political dimensions of violence. A primary consideration of my research then was how to integrate the techniques under discussion in ways that will help create a convincing form the for depiction of violence for a contemporary screen audience. A major outcome of my investigation and exploration of Prince's techniques, was to sustain within my screenplay the audience's gaze at a disturbing mirror, and probe an audience's ambivalent response to contemporary social currents. Through the demystification of the Special Forces soldier, it was my intention to depict vioence and aggression in striking and original ways.

Since the digital revolution, media studies has repositioned celluloid in media archaeology while drawing attention to new media, new visual, and new spectatorship. We could then conceive 'what is/was cinema?' by 're-placing' rather than replacing such film theory concepts as apparatus, image, and subjectivity in a feedback circuit between past and present. In this context, the new media term interface seems inspiring; its notion of contact surface between humans and/or machines has evolved in various ways to redefine cinema, screen, and body. But I find interfacial elements or aspects to be inherent in film (studies), given the term's specificity (compared to 'apparatus'), flexibility (applicable to 'sur/face'), universality (implying 'relationality''), and intermediality (rooming 'interdisciplinarity'). A creative adaptation of interface could then serve to discover and invent a synthetic, multi-faceted notion of interfaciality that seems to underlie both image and subjectivity. For this project, I rearticulate a variety of film and interdisciplinary theories such as ontology of image, narratology of material, psychoanalysis of the real, phenomenology of body, cognitivism of mind, ethics of the other, aesthetics of appearance, and sociology of the digital. Ultimately, I propose to remap film studies through the prism of this interface theory. / I introduce cinematic interface as any contact surface mediating two sides through spatial difference (object/medium/subject) and temporal deferment (recording/editing/projection). Then, the cinematic apparatus appears as a conveyer belt of interfaces from the single surface (object) through the triple medium-interface (camera/film/screen) to the double body-interface (eye/mind). This model allows us to combine Sigmund Freud's and Henri Bergson's still resonating ideas on perception and memory in a way of reshaping the former theories of apparatus, ideological or analytical. / Drawing on a wide range of films, five chapters then investigate the interfaces on screen: (1) the direct appearance of a camera/filmstrip/screen, (2) the character's bodily contact with such a medium-interface, (3) the object's surface and (4) the subject's face as 'quasi-interfaces,' and (5) image and subjectivity as such. In each chapter, interfaciality leads us beyond its basic notion of neutral mediation or transparent communication toward the inherent disequilibrium, intrinsic dialectics, inhuman dimension, and implosive dynamics between two sides of an interface, between object and subject. I elaborate on these inner qualities in terms of ''asymmetrical mutuality,' 'ambivalent tactility,' 'immanent virtuality,' 'multiple directionality,' and 'para- index'/'indexivity'--- five keywords correspondent to five crucial concepts in film theory: suture, embodiment, illusion, signification, and indexicality , which I continue to reframe through different methodologies, unearthing hidden niches and latent constellations between them. / Opening with Michael Haneke's Cache, Chapter 1 not only argues that its video-interface 'desutures' classical seamless narrative, but also locates the multiple suture/desuture dialectics in semiotic suture theory, renewed psychoanalysis, enunciation theory, narratography, etc. This process then leads to interfaciality not just before, but also immanent in the eye asymmetrically related to the inhuman Gaze in matter, while moving from the Lacanian to Deleuzian ontology of perception. Likewise, Chapter 2 takes Rossellini's Virginity as a springboard for rethinking the touch of the screen in the history of spectatorship theory: from psychoanalysis through early Rube film study to phenomenology of embodiment. Ambivalently tactile, embodied interfaciality is here found in the skin in terms of 'screen as body' and 'body as screen.' / Chapter 3 examines how the surface of an object can appear like a pseudo-camera, a virtual filmstrip, and a flat/fluid/fluorescent screen, as suggested in Apichatpong Weerasethakul's Syndromes and a Century. Questioning the aesthetics of illusion, I here shed light on illusion of interfaciality immanent in the world, the cognitive effect of 'as if it is becoming interface.' On the opposite side, after looking at Kim Ki-duk's Time, Chapter 4 analyzes how the face can function as a multi-directional interface: a 'readerly window' to the character, a 'writerly mirror' for the viewer, a 'machinic simulacrum' of asubjectivity, and an 'uncanny icon' toward otherness. I accordingly trace the notion of signification from semiotics to phenomenology to ontology to ethics. / In the final chapter I readdress indexicality in two ways: the image as 'para-index' that only partially, impossibly indicates the absent but immanent Real, and subjectivity as 'indexical activity,' the act of indication for information or participation through our digits' tactile experience of digital interfaces. In this way, my upward trajectory from the infrastructure of apparatus through the superstructure of onscreen images to the apex of image itself goes back down to the actual ground of interface, geared up to our new media world. In so doing I suggest that interface might serve for a general theory of image and subjectivity through a meta-critical reengagement with film theory.