Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T10:01:38Z (GMT). No. of bitstreams: 1 Campo_MonicaBrincalepe_D.pdf: 651439 bytes, checksum: 355f38b13c2f3c0327235a54e8abc0ef (MD5) Previous issue date: 2010 / Resumo: O tema central investigado nesta tese está relacionado ao conceito de tempo, tão necessário para a construção do discurso histórico. Esse foi proposto devido a um diagnóstico impetrado sobre a cinematografia argentina recente, desenvolvida no chamado Nuevo Cine Argentino, cuja característica mais importante para a pesquisa é a elaboração de suas obras atadas ao tempo do puro presente, ou ainda, ao tempo do pensamento. Focalizando na questão da historicidade nessas produções, questionamos se é possível existir história quando as narrativas estão atadas a esses tempos, já que, restritas ao imediato cotidiano, não conteriam percepções sobre como nos compreendemos ser-no-tempo, isto é, seres históricos. Além disso, nos perguntamos se seria cabível perceber o mesmo tipo de temporalidade imediata nas produções brasileiras. Para tanto, a partir do conceito de representação de Roger Chartier, assim como da análise fílmica, estudamos comparativamente os filmes La mujer sin cabeza (2008), de Lucrecia Martel, e O Amor segundo B. Schianberg (2009), do cineasta brasileiro Beto Brant. Nessa análise, buscamos entrever o imediato e o cotidiano nas narrativas cinematográficas, constituídas de percepções culturais assentadas em trajetórias históricas e, portanto, de percepções do ser-no-tempo. Defendemos que essas podem ser eleitas como representações, partes constituintes de nossa produção cultural e indicativas de como nos percebemos e atuamos em sociedade. / Abstract: The central topic investigated in this thesis is related to the concept of time, which is so necessary for the construction of the historical speech. It has been proposed due to an impetrated diagnosis about the late Argentinean cinema, developed in the so-called Nuevo Cine Argentino, whose elaboration of its works bound to the time of pure present, or the time of thought is the most important characteristic to this research. Focusing on the historicity of these productions, we question whether there can be history when the narratives are tied to those times, once being restricted to the immediate everyday life, did not include insights on how we understand ourselves as being-in-time or historical beings. Furthermore, we wonder whether it is reasonable realizing the same type of immediate temporality in Brazilian productions. Therefore, from the Roger Chartier's concept of representation, and from film analysis, we study the films La mujer sin cabeza (2008), by Lucrecia Martel, as well as O Amor segundo B. Schianberg (2009), by the Brazilian film maker Beto Brant. In this analysis, we seek to detect the immediate and the everyday life in cinematographic narratives, consisting of cultural perceptions settled in historical paths, and thus perceptions of being-in-time. We support that they may be elected as representations, components of our cultural production and indicators of how we perceive ourselves and act in society. / Doutorado / Historia Social / Doutor em História

Though the portrayal of African American mothers in cinema has been diverse, it has too often misrepresented the lived experiences of mothers and has contributed to negative stereotypes about African American motherhood. Existing analyses have not provided an Afrocentric examination of these specific depictions and their broader societal impact. This dissertation aims to address this gap by investigating the representation of African American mothers in film. Grounded in Afrocentric research, scholarship, and theories, the project seeks to develop a framework centered on African Matriarchy and the experiences of African American mothers. This paper introduces the Taylor Test, a comprehensive rubric informed by the Afrocentric paradigm, film theories, and feminist and womanist theories. Through the application of the Taylor Test, a content analysis was conducted on select films by renowned African American filmmaker Spike Lee, including Crooklyn (1994), She Hate Me (2004), and Chi-Raq (2015). The findings of this research contribute to the development of an Afrocentric film analysis framework, demonstrating the effectiveness of the Taylor Test. Additionally, it offers insights into fostering a "liberated maternal" identity by leveraging media, particularly film, to reshape narratives surrounding African American motherhood. / Africology and African American Studies