Cinemascape: Durango is a portrait of “cinema” from the ethnographic perspective of Durango, a state in northern Mexico whose identity as Tierra del Cine is based on its history as a "location" for both Hollywood Westerns and the low-budget, Mexican action films known as churros. From the globally "marginal" vantage of Durango, it looks at how "cinema," as a mobile signifier transects and transforms seemingly disparate topics and spaces and becomes part of new cultural configurations and flows. These flows are both concretely economic, as in the transnational traffic in media products, and imaginary, as in changing senses of meaning and identity. It addresses cinema's manifestations and meanings in a variety of institutions and practices locally regarded as cinema-related. It includes chapters on everyday space and imagination; genre and "authoritarian" visual form; national and regional ideologies; and the specific careers and artistic production of two Durango filmmakers. Although production has diminished since the mid 1980s, due to the waning popularity of movie Westerns and the rise of video, "cinema" remains a powerful presence in Durango, palpable in discourses of nostalgia, hope and patrimony, as well as in material artifacts. It "exists" in bumper stickers that say "Durango, Tierra del Cine" and movie sets of Old West towns in various states of decay. One set has become a "real" town, with people living and working behind facades that say "Saloon" and "General Store." Another is now an amusement park. Others stand as decaying ghost towns. John Wayne had a ranch in Durango, and his image appears everywhere. The state tourist office is called "The Office of Tourism and Cinema." The particularity of Durango's cinematic terrain is evoked through a representational strategy of montage, organized by piling up "scenes" from everyday life, films and film history. Its aim is to show "cinema" as a point of connection within a broad social imaginary, working at different levels of specificity, and also "leaking." The dissertation is interdisciplinary in that it links culture to imagination (thus philosophy), media, art and literature (thus art history, cultural/film studies) and global capitalism (thus political economy, history, area studies). / text

Made available in DSpace on 2014-12-17T14:20:11Z (GMT). No. of bitstreams: 1 KeniaAN_DISSERT.pdf: 1783531 bytes, checksum: 99cc750334937d02001284ecdbad9093 (MD5) Previous issue date: 2013-03-08 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Homosexuality has been gaining strength in Cinema from the late twentieth century, when there is a dissemination of freedoms around the peripheral or marginal sexualities. Based on this assumption, it was formulated in the dissertation work, an analysis of the relationship between Cinema and Sexuality in order to understand, describe, reflect and analyze possible changes around the performative behaviors of male homosexual from the introduction of them in film production, arising from the mass culture industry. These productions are located in three different decades. In this case, the Cinema has not only the reproductive character of realities, but also a producing agent and consolidating them. The methodology applied was discourse analysis of three film works, namely La Cage aux Folles (1978), In & Out (1997) and Boat Trip (2002). The image, research object of this work, is developed by a mass culture that will produce mass identities which is characterized by crystallization of clich?s around the gay world / A homossexualidade vem ganhando for?a no Cinema a partir do final do s?culo XX, quando h? uma dissemina??o das liberdades em torno das sexualidades ditas perif?ricas ou marginais. Partindo desse pressuposto, foi elaborada, no trabalho de disserta??o de mestrado, uma an?lise sobre a rela??o entre Cinema e Sexualidade, a fim de perceber, descrever, refletir e analisar poss?veis mudan?as em torno dos comportamentos perform?ticos dos sujeitos homossexuais masculinos a partir da introdu??o destes nas produ??es cinematogr?ficas, oriundas da ind?stria cultural de massa. Produ??es estas localizadas em tr?s d?cadas distintas. Nesse caso, tem-se sobre o Cinema um car?ter n?o somente de reprodutor das realidades, mas tamb?m de um agente produtor e de consolida??o delas. A metodologia aplicada no trato desses objetivos se d? atrav?s da an?lise de discurso de tr?s obras f?lmicas, a saber, Gaiola das loucas (1978), Ser? que ele ?? (1997) e Cruzeiro das loucas (2002). A imagem ? o objeto de pesquisa desse trabalho, sendo ela desenvolvida por uma cultura de massa, que ir? produzir identidades de massa que se caracteriza atrav?s da cristaliza??o de clich?s em torno do mundo gay