Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2005. / Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2008. Adviser: Barbara Klinger. "Title from dissertation home page (viewed Nov. 27, 2006)."

Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2005. / Source: Dissertation Abstracts International, Volume: 66-04, Section: A, page: 1202. Adviser: Joan Hawkins. "Title from dissertation home page (viewed Nov. 15, 2006)."

This dissertation explores the development of commercial entertainments and film exhibition in the urban South around the turn of the last century through the growth and decline of Jake Wells Enterprises. A former professional baseball player, Wells invested in a wide variety of public amusements, with the core of his early business centered on establishing and organizing a string of vaudeville, popularly priced, and legitimate theaters throughout the largest cities in the region, a network he later transitioned to showing exclusively motion pictures. A thorough analysis of period newspapers, trade journals, and some business records covering Wells’ career provides much-needed evidence for film and cultural historians wishing to understand the genesis and evolution of public amusements in the region, and its negotiation of traditional social and cultural institutions. In the 1890s, Wells played and managed several professional baseball teams in the South. The sport educated players and spectators alike to both the values and creed of New South progress, and to rising tensions confronting the intersection of modern and traditional forms of culture. Using his experiences and contacts gained in baseball, Wells helped foster a culture of entrepreneurship and innovation required for the progress of media industries in the region, establishing social networks of knowledge and improving distribution flows of entertainment. The dissertation explores how race and the genteel emerged as regional characteristics most influential to the success of this conversion in many urban areas. Protestants and evangelical culture served as the bulkhead supporting opposition to new amusements. Wells’ expansion plans and violations of Sabbath day laws evoked a “spatial” battle between commercialism and religion where political, social, and cultural power drawn from place and identity were challenged and reconfigured. Another chapter explores the exhibition and reception of early Civil War films in the region. Wells and other exhibitors were influential in their production and circulation nationwide, and positioned cinema as an alternative shrine to commemorate the Lost Cause in many communities. The last chapter shows how Wells failed to meet local demands and consumer desires in competition with the rise of national chain theaters and Hollywood’s vertical integration.

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Made available in DSpace on 2016-08-10T11:21:32Z (GMT). No. of bitstreams: 1 JEFFERSON CARVALHO MATEUS.pdf: 1205817 bytes, checksum: e2a01eaa9479b77433af3af3b0d9fa29 (MD5) Previous issue date: 2013-06-28 / The study that is embodied in this dissertation is placed in a historical research that seeks to analyze the importance of Glauber Rocha for Brazilian cinema, not being seen only as a filmmaker but also as an important "historian", since their productions allow to know the roots and characteristics of Brazilian cinema, in particular the new cinema. To do so, we start from the understanding of how the film was characterized during the dictatorship, the struggle for resources and lack of incentive on the same, all that characterized the productions, but also gave rise to several important authors to national culture. For the construction of this dissertation has been used as a methodological resource, discussions and analyzes literature, with authors such as backing Napolitano (2004), Faust (2002), Rock (2003), among others, which made it possible to know the history of Brazil and relates it film history, aspects related to Glauber Rocha, both as a filmmaker, critic and as "historian". After completion of this study, it was revealed that the author is a milestone for the Brazilian cinema, mainly because it sought to know their characteristics, authors and transformations, acting critically, often acting as a "historian" to highlight facts issues and subjects within the history of cinema, seeking value the characteristics of the country and all that the film could offer. / RESUMO O estudo que se materializa nesta dissertação de mestrado coloca-se em uma pesquisa historiográfica que busca analisar a importância de Glauber Rocha para o cinema brasileiro, não sendo visto apenas como um cineasta, mas também como um importante historiador , uma vez que suas produções permitem conhecer as raízes e características do cinema brasileiro, em especial, do cinema novo. Para tanto, parte-se do entendimento de como o cinema se caracterizou durante o período da ditadura, a luta por recursos e a falta de incentivo no mesmo, tudo isto que caracterizou as produções, mas também fez surgir diversos autores importantes para a cultura nacional. Para a construção dessa dissertação foi utilizado como recurso metodológico, discussões e análises bibliográficas, com respaldo em autores como Napolitano (2004), Fausto (2002), Rocha (2003), dentre outros, que possibilitaram conhecer a história do Brasil e relacioná-la a história do cinema, aspectos referentes a Glauber Rocha, tanto como um cineasta, quanto crítico e historiador . Após a elaboração da pesquisa, foi possível perceber que esse autor é um marco para o cinema brasileiro, principalmente porque buscou conhecê-lo em suas características, autores e transformações, agindo de forma crítica, atuando muitas vezes como um historiador ao evidenciar fatos, questões e sujeitos dentro da história do cinema, buscando valorizar as características do país e tudo o que o cinema podia oferecer.

This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky's reading of the cinematographic image in terms of 'cursed grey shadows', to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image's unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of 'being human' is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: 'dummy', 'siren', 'doppelg??nger' and 'resurrection'. These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent.

This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky's reading of the cinematographic image in terms of 'cursed grey shadows', to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image's unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of 'being human' is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: 'dummy', 'siren', 'doppelg??nger' and 'resurrection'. These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-18T12:07:36Z No. of bitstreams: 1 Bernardo Queiroz de Siqueira Santos.pdf: 6540108 bytes, checksum: 15368e1418e5230caf9a2a425ae11632 (MD5) / Made available in DSpace on 2017-12-18T12:07:36Z (GMT). No. of bitstreams: 1 Bernardo Queiroz de Siqueira Santos.pdf: 6540108 bytes, checksum: 15368e1418e5230caf9a2a425ae11632 (MD5) Previous issue date: 2017-12-05 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / What are the traits that predominate in cinema on the present context of digital communication technologies? This PHD thesis proposed a study of what we define as reloaded Cinema, a denomination that refers to the transformation phenomena that affected movies in the beginning of the 21st century, based on the complexities that emerge from the highly integrated communicational processes of the media. That phenomenon is based on the interactions between the networked media environment, the potentials unlocked by the digitalization processes and the relationships with users. The Corpus of this study is composed by audio-visual projects that question and expand the limits of what is cinema, in the sense that was conceived previously. This reload of Cinema is a complex network, composed by the articulations of material, cognitive, linguistic, cultural and multimedia elements. Our method is composed by three stages 1) defining what this reloaded phenomenon is by the selection of those audio-visual projects that undermine the limits of established Cinema; 2) evaluate those projects through proceedings of localization, description and analysis; 3) Organize a synthesis of their properties and propose evaluative schema for cinematic works. Adopting the Complexity Thought proposed by Morin, we affirm that the Reloaded Cinema does not exist as an hegemonic, monolithic and isolated element, but as a communicational phenomenon inserted in culture, that emerges from between users, devices and software mediations. Under this perspective, we avoid determinisms and recognize the intrinsic paradoxes of Cinema in the digital age. Our hypothesis is that the reconfigurations (or reload) of cinema can be found on a) interactions between connected technologies of vision and it´s users through various mobile-imagedevices, like Virtual and Augmented Reality systems; b) on the emerging possibilities of creational processes generated by cinema´s connections and compatibility with Online Networks and Digitized databases, such as collaborative films and AI-oriented screenwriting; c) in mutations on construction of filmic time and space, influencing cinematographic language; d) contaminations of Cinema with other Network-Connected media, and it´s consequences on contemporary culture, where the limits between cinema and other media becomes blurry and overlapped. The results of this research are a map of the present reloaded stage of Cinema, both in the sense of audio-visual experimentation as an overview of its emerging potentials of creative processes, modes of experience and integrations with communication environments of contemporary culture / Quais as características que predominam no cinema no contexto das tecnologias digitais de comunicação? Esta tese de doutorado tem por objetivo estudar o Cinema Reloaded, denominação que propomos para nos referir ao fenômeno de transformação do cinema no início do século XXI, partindo do pressuposto das complexidades que emergem nos processos comunicacionais. Consideramos, para isso, o ambiente midiático das redes, os potenciais que emergem dos procedimentos de digitalização e as relações com os usuários. O corpus de análise é composto por projetos audiovisuais que problematizam e expandem as fronteiras do cinema, no sentido em que foi concebido até então. Compreendemos o Cinema Reloaded enquanto rede complexa, composta pela articulação de elementos materiais, cognitivos, linguísticos, culturais e multimidiáticos. Nossa proposta metodológica é composta por três etapas: (1) enunciar o conceito de Cinema Reloaded a partir da escolha e definição de projetos audiovisuais exemplares; (2) examinar os projetos selecionados através de procedimentos de localização, descrição e análise; (3) organizar e propor uma síntese das qualidades inventariadas no processo e formular esquemas avaliativos para obras. Adotando como fundamentação teórica o pensamento da complexidade segundo a leitura de Morin, afirmamos que o Cinema Reloaded não existe como um elemento monolítico ou isolado, mas como um fenômeno comunicacional inserido na cultura, que emerge entre usuários, aparatos e mediações do software. Também de acordo com essa perspectiva, evitamos determinismos e reconhecemos os paradoxos. Nossa hipótese é que as reconfigurações (reload), do cinema podem ser constatadas a) nas interações entre as tecnologias conectadas da visão com os usuários, através de aparatos de fruição de imagens em movimento, a exemplo dos sistemas de realidade virtual e aumentada; b) nas possibilidades emergentes de processos criativos gerados pela interconexão do cinema com as redes digitais online e as lógicas dos bancos de dados, como os filmes colaborativos e roteiros organizados por inteligências artificiais; c) nas mudanças na construção dos espaços e do tempo fílmico na era digital, as suas influências na linguagem cinematográfica e; d) as contaminações do cinema com outras mídias conectadas na era digital e suas interações na cultura contemporânea, onde as fronteiras ficam borradas e sobrepostas. O resultado da pesquisa é um mapeamento das características do cinema em seu estágio Reloaded, tanto no sentido das experimentações audiovisuais como na delimitação de suas potencialidades emergentes de criação, modos de experiência e integração com os ambientes comunicativos da cultura contemporânea

Esta Tese tem por objetivo problematizar sobre as implicações teóricas da relação Cinema-História, destacando como os filmes interpretam a História e quais as consequências desse processo para a História como ciência e para o meio social. Trata-se de pensar como o aporte de novas tecnologias constitui uma forma narrativa para a História apresentada, e se a divulgação da História por imagens filmográficas permite perceber a composição de um novo paradigma centrado na Razão Poética, que possibilite a reavaliação do próprio paradigma científico da História. O contexto escolhido para ancorar nossa análise é o da Revolução Mexicana, primeira Revolução a descortinar o breve, porém intenso, século XX. Este processo é sem dúvida um dos mais significativos na História contemporânea e mundial. Sua abrangência, seus efeitos e experiências proporcionadas ainda trazem impacto no presente vivido. O grande número de filmes realizados no México e no exterior permitiu a criação de um corpus fílmico invejável: mais de quinhentas películas produzidas desde o início do processo revolucionário, em 1910. O volume de ficções também é considerável, e sua realização incidiu em todas as décadas, seja no âmbito nacional, seja no internacional. Diante da magnitude da Revolução, as manifestações artísticas não ficaram imunes. O Estado e a sociedade trataram de abordá-la com diferentes prismas e interesses. Entre narrativas de convergência, imagens de consenso, desconstruções e solidificações de heróis, criou-se um corpus de produtos artísticos que compreendia a arte muralista, a literatura e o cinema. A Revolução tomada como um continuum permite elaborar um quadro inteligível da sociedade mexicana. Fora do México o interesse historiográfico e cinematográfico foi significativo. Para além do seu vizinho do Norte, Europa e URSS detiveram seu olhar sobre a Revolução. A escolha dos quatro filmes analisados nesta Tese recai sobre obras realizadas em dois eixos, batizados de Quadros ideológicos-temporais. O olhar estrangeiro destes cineastas de certa forma também coincide com o olhar do autor desta Tese sobre o processo mexicano. Os filmes são: Que Viva México!, México em Chamas, Companheiros e Uma bala para o General. Dessa forma, se buscará a partir das análises fílmicas, delinear alguns elementos teóricos do paradigma Cinema-História centrado no conceito de Razão Poética. / This thesis aims to discuss about the theoretical implications of Cinema History relationship, highlighting how the film interpret the history and what the consequences of this process for the History as a science and the social environment. It is thought as the contribution of new technologies is a narrative form to the history presented, and the dissemination of history by filmográficas images allows us to see the composition of a new paradigm focused on Poetic Reason, which allows the revaluation of own scientific paradigm History. The context chosen to anchor our analysis is the Mexican Revolution, the first revolution to uncover the brief but intense twentieth century. This process is undoubtedly one of the most significant in contemporary world history. Its comprehensiveness, its effects and proportionate experiences still carry impact on the lived present. The large number of films made in Mexico and abroad allowed the creation of an enviable filmic corpus: more than five hundred films produced since the beginning of the revolutionary process in 1910. The volume of fictions is also considerable, and its realization focused on all decades, whether at the national, whether at international level. Considering the magnitude of the Revolution, artistic events were not immune. The state and society have tried to approach it with different perspectives and interests. Convergence between narratives, consensus pictures, deconstructions and solidification of heroes created a corpus of artistic products comprising the mural art, literature and cinema. The Revolution taken as a continuum allows develop a meaningful framework of Mexican society. Outside of Mexico and the historiographical cinematic interest was significant. Apart from its northern neighbor, Europe and the USSR arrested his gaze on the Revolution. The choice of the four films analyzed in this work lies with works carried out in two axes, dubbed ideological-temporal frameworks. Foreign look of these filmmakers somehow also coincides with the look of the author of this thesis on the Mexican process. The films are: Que Viva Mexico!, Mexico in Flames, Companeros and A Bullet for the General. Thus, it seeks from the filmic analysis, outline some theoretical elements of Cinema History paradigm centered on the concept of Poetic Reason.

Esta Tese tem por objetivo problematizar sobre as implicações teóricas da relação Cinema-História, destacando como os filmes interpretam a História e quais as consequências desse processo para a História como ciência e para o meio social. Trata-se de pensar como o aporte de novas tecnologias constitui uma forma narrativa para a História apresentada, e se a divulgação da História por imagens filmográficas permite perceber a composição de um novo paradigma centrado na Razão Poética, que possibilite a reavaliação do próprio paradigma científico da História. O contexto escolhido para ancorar nossa análise é o da Revolução Mexicana, primeira Revolução a descortinar o breve, porém intenso, século XX. Este processo é sem dúvida um dos mais significativos na História contemporânea e mundial. Sua abrangência, seus efeitos e experiências proporcionadas ainda trazem impacto no presente vivido. O grande número de filmes realizados no México e no exterior permitiu a criação de um corpus fílmico invejável: mais de quinhentas películas produzidas desde o início do processo revolucionário, em 1910. O volume de ficções também é considerável, e sua realização incidiu em todas as décadas, seja no âmbito nacional, seja no internacional. Diante da magnitude da Revolução, as manifestações artísticas não ficaram imunes. O Estado e a sociedade trataram de abordá-la com diferentes prismas e interesses. Entre narrativas de convergência, imagens de consenso, desconstruções e solidificações de heróis, criou-se um corpus de produtos artísticos que compreendia a arte muralista, a literatura e o cinema. A Revolução tomada como um continuum permite elaborar um quadro inteligível da sociedade mexicana. Fora do México o interesse historiográfico e cinematográfico foi significativo. Para além do seu vizinho do Norte, Europa e URSS detiveram seu olhar sobre a Revolução. A escolha dos quatro filmes analisados nesta Tese recai sobre obras realizadas em dois eixos, batizados de Quadros ideológicos-temporais. O olhar estrangeiro destes cineastas de certa forma também coincide com o olhar do autor desta Tese sobre o processo mexicano. Os filmes são: Que Viva México!, México em Chamas, Companheiros e Uma bala para o General. Dessa forma, se buscará a partir das análises fílmicas, delinear alguns elementos teóricos do paradigma Cinema-História centrado no conceito de Razão Poética. / This thesis aims to discuss about the theoretical implications of Cinema History relationship, highlighting how the film interpret the history and what the consequences of this process for the History as a science and the social environment. It is thought as the contribution of new technologies is a narrative form to the history presented, and the dissemination of history by filmográficas images allows us to see the composition of a new paradigm focused on Poetic Reason, which allows the revaluation of own scientific paradigm History. The context chosen to anchor our analysis is the Mexican Revolution, the first revolution to uncover the brief but intense twentieth century. This process is undoubtedly one of the most significant in contemporary world history. Its comprehensiveness, its effects and proportionate experiences still carry impact on the lived present. The large number of films made in Mexico and abroad allowed the creation of an enviable filmic corpus: more than five hundred films produced since the beginning of the revolutionary process in 1910. The volume of fictions is also considerable, and its realization focused on all decades, whether at the national, whether at international level. Considering the magnitude of the Revolution, artistic events were not immune. The state and society have tried to approach it with different perspectives and interests. Convergence between narratives, consensus pictures, deconstructions and solidification of heroes created a corpus of artistic products comprising the mural art, literature and cinema. The Revolution taken as a continuum allows develop a meaningful framework of Mexican society. Outside of Mexico and the historiographical cinematic interest was significant. Apart from its northern neighbor, Europe and the USSR arrested his gaze on the Revolution. The choice of the four films analyzed in this work lies with works carried out in two axes, dubbed ideological-temporal frameworks. Foreign look of these filmmakers somehow also coincides with the look of the author of this thesis on the Mexican process. The films are: Que Viva Mexico!, Mexico in Flames, Companeros and A Bullet for the General. Thus, it seeks from the filmic analysis, outline some theoretical elements of Cinema History paradigm centered on the concept of Poetic Reason.