Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 169-188).

Submitted by Bruna Rodrigues (bruna92rodrigues@yahoo.com.br) on 2016-09-22T11:56:05Z No. of bitstreams: 1 DissEGV.pdf: 2197790 bytes, checksum: 3f73d09e8939281eaee7e20b23321872 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:06:34Z (GMT) No. of bitstreams: 1 DissEGV.pdf: 2197790 bytes, checksum: 3f73d09e8939281eaee7e20b23321872 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:06:40Z (GMT) No. of bitstreams: 1 DissEGV.pdf: 2197790 bytes, checksum: 3f73d09e8939281eaee7e20b23321872 (MD5) / Made available in DSpace on 2016-10-04T18:06:48Z (GMT). No. of bitstreams: 1 DissEGV.pdf: 2197790 bytes, checksum: 3f73d09e8939281eaee7e20b23321872 (MD5) Previous issue date: 2015-08-19 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / This work aims to study the relationship between the “teatro de revista” (revue) and the musical comedies made by Luiz de Barros. An important name in the history of Brazilian cinema, Luiz de Barros made dozens of films during his long career as a filmmaker. However, he did not dedicate his activities only to cinema, having established also an important career in "teatro de revista" and other stage shows. Based on researches in periodicals and archives, it was made a survey of the many activities of the director. Full of attractions, the musical comedies used elements of mass culture, like popular music and carnival, to attract the audience, bringing also several aspects of the “teatro de revista” and other artistic forms. Through the analysis of the movies Berlim na batucada (Luiz de Barros, 1944) e Caídos do céu (Luiz de Barros, 1946), this research aims to study how the filmmaker articulated characteristic elements of the “teatro de revista” in his films, both in the narrative level and in relation to production, also investigating the casting of theatrical actors and musicians well known to the public. Thus, this work intends to expand a research field of the history of Brazilian cinema that studies the dialogue with other kinds of entertainment. / Este trabalho estuda a relação entre o teatro de revista e as comédias musicais realizadas por Luiz de Barros. Um nome importante na história do cinema brasileiro, Luiz de Barros realizou dezenas de filmes durante sua longa carreira como cineasta. No entanto, sua atuação artística não se limitou apenas ao cinema, estabelecendo, também, uma importante trajetória no teatro de revista e em outros tipos de espetáculos de palco. A partir da pesquisa em periódicos e documentos, foi feito um levantamento das diversas atividades do realizador. As comédias musicais, repletas de atrações, se utilizavam de elementos da cultura de massa, como a música popular e o carnaval, para atrair o público, trazendo também diversas características do teatro de revista e outras formas artísticas. Através da análise dos filmes Berlim na batucada (Luiz de Barros, 1944) e Caídos do céu (Luiz de Barros, 1946), tem-se o objetivo de estudar como o cineasta articulava elementos característicos do teatro de revista, tanto no nível narrativo quanto em relação à produção, observando também a participação de atores teatrais e músicos conhecidos pelo público. Deste modo, o presente trabalho procura ampliar um campo de pesquisa da história do cinema brasileiro, que estuda o diálogo com outros tipos de entretenimento.

京都大学 / 0048 / 新制・論文博士 / 博士(人間・環境学) / 乙第12939号 / 論人博第41号 / 新制||人||177(附属図書館) / 27||論人博||41(吉田南総合図書館) / 32149 / 京都大学大学院人間・環境学研究科環境相関研究専攻 / (主査)教授 丸橋 良雄, 教授 前川 玲子, 教授 水野 眞理, 教授 廣野 由美子, 教授 松田 英男 / 学位規則第4条第2項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

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In a study of the tragic elements in Shakespeare's comedies, it is necessary to distinguish between the tragic and the comic and to note their relationship, before considering the subject proper.

The serious investigation of humor's function in society is an emerging area of research in critical humor studies, a "negative" subsect of the extensive and "positive" research that assumes humor's goodness. Using Michael Billig's theory of ridicule as a framework, this study explored how humor operated to discipline characters who broke social norms or allowed characters to rebel against those norms. Layering this with gender performative theory, the study also investigated how different male and female characters used ridicule and were subject to it themselves. After examining ridicule in The Big Bang Theory, 2 Broke Girls, and The Odd Couple using a critical rhetorical analysis, the findings revealed that disciplinary ridicule was used more overtly throughout all three programs, while potentially rebellious ridicule emerged in only a few scenes. In addition, men were overwhelmingly the subjects of disciplinary ridicule, although women found themselves as subjects throughout all three programs as well. The discursive ridiculing of non-normative bodies constructed and maintained social norms about gender and sexuality, thereby uninviting these bodies from participating in society.

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