Buenos Aires. Metade do século dezenove. Uma política de fomento à imigração européia traz às terras portenhas mais de seis milhões de imigrantes. Ao contrário do que o governo argentino esperava, as que compunham esse cenário não eram pessoas requintadas, conhecedoras de arte e ciência, muito menos mão de obra qualificada. Os imigrantes de pouca instrução e de poucos meios que passaram a fazer parte da população residente nos arrabais portenhos, assolados pela saudade de suas terras, buscando no ambiente prostibulário por uma “natural” comunhão, dão origem ao tango nas últimas décadas do século dezenove. Por volta da mesma época, os irmãos Lumière produzem o invento que chamariam de cinematógrafo, palavra de raiz grega que significa “registro do movimento”. Portanto, percebo o tango e o cinema como expressões contemporâneas, no sentido de que ambas tem sua gênese ao final do mesmo século. Alguns/algumas historiadores/as apontam ainda que o cinema é um dos responsáveis pela valorização do tango e por seu reconhecimento mundial no decorrer do século passado. O que de certa forma sublinha a relação entre o cinema e a história. Sendo assim, esta dissertação de mestrado propõe analisar como os aspectos históricos do tango argentino são representados na película Tango de Carlos Saura. Usando o aporte teórico dos Estudos Culturais e entendendo as produções cinematográficas como artefatos pedagógicos, busco perceber quais são os sentidos produzidos sobre a história do tango argentino na narrativa construída por Saura. Inicio meu exercício analítico com um olhar atento sobre os elementos técnicos de cenário, iluminação e figurino empregados na construção da obra. Somado a isso, a linguagem cinematográfica utilizada por Saura, perceptível por meio dos planos, ângulos e movimentação de câmera, também são aspectos importantes que compreendem a análise. São quatro os momentos históricos do tango representados na película escolhidos para compor esse estudo. O período imigratório, quanto a sua relevância e envolvimento na gênese do tango, os duelos criollos e o tango dançado entre homens, o ambiente prostibulário e o tango entre mulheres e, por fim, o período da ditadura militar argentina em sua relação com o tango. Ao considerar esse último aspecto tento perceber ainda como outras películas abordam a memória do período, em especial quanto a temática do exílio. Por fim, proponho uma análise da dramaturgia da dança executada em cada uma das cenas a fim de perceber o que a linguagem coreográfica nos diz sobre o período que representa. / Buenos Aires. Half of the nineteenth century. A policy to promote european immigration to Buenos Aires brings more than six million immigrants. Contrary to the Argentine government hoped, composing this scenario were not intellectual people, knowledgeable of art and science, much less skilled labor. Immigrants with little education and few resources that have become part of the resident population in arrabais, covered by nostalgia for their land, in the brothel environment looking for a “natural” communion, give rise to tango in the last decades of the nineteenth century. Around the same time, the Lumière brothers produce the invention that would call cinematographer, Greek root word meaning "record of the movement." Therefore, realize the tango and cinema as contemporary expressions, in the sense that both have their genesis at the end of the same century. Some historians the still point that cinema is one responsible for the valuation of tango and its worldwide recognition during the last century. Which I think that somehow emphasizes the relationship between cinema and history. Thus, this dissertation aims to analyze how the historical aspects of Argentine tango are represented in Tango by Carlos Saura. Using the theoretical framework of Cultural Studies and understanding cinema as pedagogical artifacts, I seek to understand what are the meanings produced from the Argentine tango in the narrative constructed by Saura. First of all, my analytical exercise began with a look on technical elements of scenery, lighting and costumes. Added to this, the cinematographic language used by Saura, noticeable through the planes, angles and camera movements are also important aspects that comprise the analysis. There are four historical moments of the tango represented in saura’s movie, chosen to make this study. The period of immigration, as their relevance and involvement in the genesis of the tango, tango-dance executed by men, the brothel environment and tango between women and finally the period of Argentine military dictatorship in its relationship with the tango. In considering this latter aspect still try to understand how other films deal with the memory of the period, especially as the theme of exile. Finally, I propose an analysis of the dramaturgy of dance performed in each of the scenes in order to realize what a choreographic language tells us about the period it represents.

This thesis reconsiders the work of art filmmakers in the People’s Republic of China between 1989 and 2001. These dates bookend the decade of the 1990s, comprising two defining moments in the reform era: the Tiananmen Square political crisis in 1989, and the entry of China into the WTO and the global market economy in 2001. The 1990s is therefore approached in this research as a transitional decade, in which the future direction of China was being decided. The term ‘art film’ is used to identify a distinct mode of film practice, characterised by a peripheral position, a clear directorial voice, and an emphasis on aesthetics. This rubric therefore incorporates films made by a range of auteur directors, rather than solely the ‘independent’ or ‘underground’ works commonly assessed in studies of the decade. By examining the representational modes used by art filmmakers in the 1990s, filmic innovations can be seen to constitute an artistic response to the restrictions placed on representation by the State. This thesis argues that historical reassessment was a key factor in the innovation of cinematic representation in the 1990s. Utilising a cultural history approach, the thesis engages in close textual analysis of seventeen films, identifying and contextualising the representational conventions drawn on by filmmakers. The thesis is structured around five thematic chapters, each dealing with a cluster of films focused on similar content. The first chapter examines filmic reassessments of China’s socialist history, and concludes that the limitations of the official narrative provided opportunities for the assertion of alternative histories. The subsequent chapters develop on the concept of historical reassessment by looking at changing modes of cinematic representation in relation to rural populations, women and gender, urban regeneration, and youth culture. By engaging in a wide-ranging survey of how key themes were represented in art films in the 1990s, the thesis reveals the critical role which historical reassessment played in pushing directors to new levels of artistry and experimentation in their filmmaking. This thesis concludes that by questioning the cinematic forms used historically to represent these issues and social groups, Chinese art filmmakers achieved a new level of artistic independence in their work by the end of the decade.

Buenos Aires. Metade do século dezenove. Uma política de fomento à imigração européia traz às terras portenhas mais de seis milhões de imigrantes. Ao contrário do que o governo argentino esperava, as que compunham esse cenário não eram pessoas requintadas, conhecedoras de arte e ciência, muito menos mão de obra qualificada. Os imigrantes de pouca instrução e de poucos meios que passaram a fazer parte da população residente nos arrabais portenhos, assolados pela saudade de suas terras, buscando no ambiente prostibulário por uma “natural” comunhão, dão origem ao tango nas últimas décadas do século dezenove. Por volta da mesma época, os irmãos Lumière produzem o invento que chamariam de cinematógrafo, palavra de raiz grega que significa “registro do movimento”. Portanto, percebo o tango e o cinema como expressões contemporâneas, no sentido de que ambas tem sua gênese ao final do mesmo século. Alguns/algumas historiadores/as apontam ainda que o cinema é um dos responsáveis pela valorização do tango e por seu reconhecimento mundial no decorrer do século passado. O que de certa forma sublinha a relação entre o cinema e a história. Sendo assim, esta dissertação de mestrado propõe analisar como os aspectos históricos do tango argentino são representados na película Tango de Carlos Saura. Usando o aporte teórico dos Estudos Culturais e entendendo as produções cinematográficas como artefatos pedagógicos, busco perceber quais são os sentidos produzidos sobre a história do tango argentino na narrativa construída por Saura. Inicio meu exercício analítico com um olhar atento sobre os elementos técnicos de cenário, iluminação e figurino empregados na construção da obra. Somado a isso, a linguagem cinematográfica utilizada por Saura, perceptível por meio dos planos, ângulos e movimentação de câmera, também são aspectos importantes que compreendem a análise. São quatro os momentos históricos do tango representados na película escolhidos para compor esse estudo. O período imigratório, quanto a sua relevância e envolvimento na gênese do tango, os duelos criollos e o tango dançado entre homens, o ambiente prostibulário e o tango entre mulheres e, por fim, o período da ditadura militar argentina em sua relação com o tango. Ao considerar esse último aspecto tento perceber ainda como outras películas abordam a memória do período, em especial quanto a temática do exílio. Por fim, proponho uma análise da dramaturgia da dança executada em cada uma das cenas a fim de perceber o que a linguagem coreográfica nos diz sobre o período que representa. / Buenos Aires. Half of the nineteenth century. A policy to promote european immigration to Buenos Aires brings more than six million immigrants. Contrary to the Argentine government hoped, composing this scenario were not intellectual people, knowledgeable of art and science, much less skilled labor. Immigrants with little education and few resources that have become part of the resident population in arrabais, covered by nostalgia for their land, in the brothel environment looking for a “natural” communion, give rise to tango in the last decades of the nineteenth century. Around the same time, the Lumière brothers produce the invention that would call cinematographer, Greek root word meaning "record of the movement." Therefore, realize the tango and cinema as contemporary expressions, in the sense that both have their genesis at the end of the same century. Some historians the still point that cinema is one responsible for the valuation of tango and its worldwide recognition during the last century. Which I think that somehow emphasizes the relationship between cinema and history. Thus, this dissertation aims to analyze how the historical aspects of Argentine tango are represented in Tango by Carlos Saura. Using the theoretical framework of Cultural Studies and understanding cinema as pedagogical artifacts, I seek to understand what are the meanings produced from the Argentine tango in the narrative constructed by Saura. First of all, my analytical exercise began with a look on technical elements of scenery, lighting and costumes. Added to this, the cinematographic language used by Saura, noticeable through the planes, angles and camera movements are also important aspects that comprise the analysis. There are four historical moments of the tango represented in saura’s movie, chosen to make this study. The period of immigration, as their relevance and involvement in the genesis of the tango, tango-dance executed by men, the brothel environment and tango between women and finally the period of Argentine military dictatorship in its relationship with the tango. In considering this latter aspect still try to understand how other films deal with the memory of the period, especially as the theme of exile. Finally, I propose an analysis of the dramaturgy of dance performed in each of the scenes in order to realize what a choreographic language tells us about the period it represents.

Buenos Aires. Metade do século dezenove. Uma política de fomento à imigração européia traz às terras portenhas mais de seis milhões de imigrantes. Ao contrário do que o governo argentino esperava, as que compunham esse cenário não eram pessoas requintadas, conhecedoras de arte e ciência, muito menos mão de obra qualificada. Os imigrantes de pouca instrução e de poucos meios que passaram a fazer parte da população residente nos arrabais portenhos, assolados pela saudade de suas terras, buscando no ambiente prostibulário por uma “natural” comunhão, dão origem ao tango nas últimas décadas do século dezenove. Por volta da mesma época, os irmãos Lumière produzem o invento que chamariam de cinematógrafo, palavra de raiz grega que significa “registro do movimento”. Portanto, percebo o tango e o cinema como expressões contemporâneas, no sentido de que ambas tem sua gênese ao final do mesmo século. Alguns/algumas historiadores/as apontam ainda que o cinema é um dos responsáveis pela valorização do tango e por seu reconhecimento mundial no decorrer do século passado. O que de certa forma sublinha a relação entre o cinema e a história. Sendo assim, esta dissertação de mestrado propõe analisar como os aspectos históricos do tango argentino são representados na película Tango de Carlos Saura. Usando o aporte teórico dos Estudos Culturais e entendendo as produções cinematográficas como artefatos pedagógicos, busco perceber quais são os sentidos produzidos sobre a história do tango argentino na narrativa construída por Saura. Inicio meu exercício analítico com um olhar atento sobre os elementos técnicos de cenário, iluminação e figurino empregados na construção da obra. Somado a isso, a linguagem cinematográfica utilizada por Saura, perceptível por meio dos planos, ângulos e movimentação de câmera, também são aspectos importantes que compreendem a análise. São quatro os momentos históricos do tango representados na película escolhidos para compor esse estudo. O período imigratório, quanto a sua relevância e envolvimento na gênese do tango, os duelos criollos e o tango dançado entre homens, o ambiente prostibulário e o tango entre mulheres e, por fim, o período da ditadura militar argentina em sua relação com o tango. Ao considerar esse último aspecto tento perceber ainda como outras películas abordam a memória do período, em especial quanto a temática do exílio. Por fim, proponho uma análise da dramaturgia da dança executada em cada uma das cenas a fim de perceber o que a linguagem coreográfica nos diz sobre o período que representa. / Buenos Aires. Half of the nineteenth century. A policy to promote european immigration to Buenos Aires brings more than six million immigrants. Contrary to the Argentine government hoped, composing this scenario were not intellectual people, knowledgeable of art and science, much less skilled labor. Immigrants with little education and few resources that have become part of the resident population in arrabais, covered by nostalgia for their land, in the brothel environment looking for a “natural” communion, give rise to tango in the last decades of the nineteenth century. Around the same time, the Lumière brothers produce the invention that would call cinematographer, Greek root word meaning "record of the movement." Therefore, realize the tango and cinema as contemporary expressions, in the sense that both have their genesis at the end of the same century. Some historians the still point that cinema is one responsible for the valuation of tango and its worldwide recognition during the last century. Which I think that somehow emphasizes the relationship between cinema and history. Thus, this dissertation aims to analyze how the historical aspects of Argentine tango are represented in Tango by Carlos Saura. Using the theoretical framework of Cultural Studies and understanding cinema as pedagogical artifacts, I seek to understand what are the meanings produced from the Argentine tango in the narrative constructed by Saura. First of all, my analytical exercise began with a look on technical elements of scenery, lighting and costumes. Added to this, the cinematographic language used by Saura, noticeable through the planes, angles and camera movements are also important aspects that comprise the analysis. There are four historical moments of the tango represented in saura’s movie, chosen to make this study. The period of immigration, as their relevance and involvement in the genesis of the tango, tango-dance executed by men, the brothel environment and tango between women and finally the period of Argentine military dictatorship in its relationship with the tango. In considering this latter aspect still try to understand how other films deal with the memory of the period, especially as the theme of exile. Finally, I propose an analysis of the dramaturgy of dance performed in each of the scenes in order to realize what a choreographic language tells us about the period it represents.

No description available.

The landscape is not static, but perceived dynamically and should be designed for the unique sorts of movement that occur. Within the site of Carpinteria, California's Amtrak train station lies an opportunity to maximize public space through an investigation of those in motion at this place of convergence, including cars, busses, pedestrians, skateboarders, bicyclists, and trains. A cinematic process of design allows for exploration of distinct character movements and resulting unique perceptions of the site in terms of scale, rhythm, texture, color, and perceived desire or needs. These stories are then sculpted onto the land, recording physically threads of speed, moments of pause, and elements of fascination. The "new" station is presented as a movie, unveiling a landscape perceived and created dynamically through the eyes of those in motion. / Master of Landscape Architecture

No description available.

Cette étude prend pour objet les salles de cinéma et la relation des spectateurs avec elles. Pour pouvoir embrasser toutes les facettes de la salle de cinéma à l’ère de la multiplication des écrans, le travail s’insère pleinement dans une perspective socio-économique qui articule méthodes quantitatives et qualitatives et s’organise en trois grandes parties. La première décrit les lignes générales de l’expérience cinématographique avec ses écrans et ses sites, la deuxième aborde directement le contexte du paysage cinématographique en Turquie, et la troisième partie s’attache à décrire la place des spectateurs dans ce contexte particulier. Il essaye de construire, à la manière d’un puzzle, le portrait du spectateur-type en Turquie, tout en espérant que ce portrait sera révélateur pour comprendre le spectateur actuel. Les observations par immersion faites dans le cadre de cette étude témoignent de l’existence d’une ligne commune qui traverse tous les types de salles, que ce soit des multiplexes, des salles de quartier ou des espaces de visionnement alternatifs, et de la continuation de l’expérience en salle à domicile. / The object of this research is the movie theaters and the relationship of the audience with them. To embrace all aspects of the movie theaters in the era of proliferation of screens, the study which follows up a socio-economic perspective articulating quantitative and qualitative methods is organized into three parts. The first part describes the general lines of the cinematic experience with its screens and sites, the second directly addresses the context of the film industry in Turkey, and the third sets out to analyze the place of the movie spectators in this particular context. It thus tries to build up like a jigsaw puzzle, a portrait of the typical spectator in Turkey, hoping that this portrait would be relevant to understand today’s audience. The field observations made within the framework of this study demonstrate the existence of a common line cutting across all types of movie theaters, whether it be multiplexes, neighborhood cinemas or alternative screening areas, and illustrate the continuation of the theater experience at home.

In contrast to the integral photograms of cinema, the images of a post-cinematic media regime are dividual, their forms discorrelated from molar subjectivity, their forces molecular, and their agencies of the order of metabolism rather than perception or cognition.1 It is in these terms that I have sought to understand the differences between cinematic and post-cinematic media (Denson 2016), and I have thereby made appeal to a somewhat Deleuzian framework—essentially situating the post-cinematic image as a medium, vector, or agent of the control society, complicit in the dividuation and modulation of subjects and their experiential and agential capacities under post-Fordist or neoliberal capitalism, as suggestively described by Deleuze in his famous “Postscript on the Societies of Control” (1992). But what are the means and mechanisms by which discorrelated, “dividuated” images are supposed to affect us?

The politique des auteurs was, from the period 1968 through 1973, the dominant methodology in cinematic criticism. It was tentatively formulated by Francois Truffaut in 1954 and greatly expanded upon by Andrew Sarris in 1962. Briefly, the “auteur theory” (as it is known in English speaking countries.) contends that aesthetically important films are the product of an auteur--an equivalent term to author in a work of literature or composer as opposed to conductor in a musical composition--and that that auteur is usually the film’s director. The quality of the film under scrutiny is directly related to the ability of that auteur to express his personality on film, his technical expertise, the relation of the film to the auteur's entire oeuvre, and to the tensions between the artist's accomplishments and the circumstances under which he had to work. This thesis is an exploration into and an assessment of the successes and failures of the “auteur theory” as employed by Sarris and those who were influenced by his thought. It concludes with the author's speculation about the future of auteurism as it relates to new cinematic methodologies (specifically genre criticism and structuralism) which are becoming more and more common.