Orientador: Francisco Elinaldo Teixeira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T01:00:00Z (GMT). No. of bitstreams: 1 Freitas_KeniaCardosoVilacade_M.pdf: 6009777 bytes, checksum: d242ab3c2946d0676852f63c25904e5e (MD5) Previous issue date: 2010 / Resumo: Essa dissertação propôs-se a fazer uma análise do cinema contemporâneo a partir do universo dos filmes feitos com telefone celular, especificamente dos documentários. Para começar, procuramos entender em que contexto da história do cinema esses filmes se situam. Em seguida, mergulhamos nas características mais específicas do dispositivo desses filmes (conectividade, portabilidade e mobilidade), tendo como objeto de análise os filmes participantes do festival Pocket Films. Por fim, traçamos a relação dos filmes feitos com celular com a construção de processos de subjetividade no cinema / Abstract: This paper intends to do an analysis of contemporary cinema throughout the universe of the movies made using cellular phone cameras, specifically of the documentary. At first, we seek to understand the context at the history of cinema in which these movies take place. In the next moment, we dive into the characteristics which are specific to the device of these movies (connectivity, portability and mobility, having as object of analysis the movies that participated in the Pocket Films Festival. At last, we trace the relation between the movies made using cellular camera and the construction of the processes of subjectivity in cinema / Mestrado / Multimeios / Mestre em Multimeios

Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:11:49Z (GMT). No. of bitstreams: 1 Modenese_Luciane_M.pdf: 8358177 bytes, checksum: f88dc682c27df29a1fc7d0a7092ddd5c (MD5) Previous issue date: 2008 / Resumo: Este trabalho propõe a análise da obra documental do diretor Walter Salles, através de quatro documentários produzidos entre 1987 e 2002. Para tanto, discute cada um desses filmes de maneira a encontrar traços que caracterizem o modo com que o diretor realiza as narrativas no gênero. / Abstract: This dissertation proposes the analysis of the documentary work of director Walter Salles, through four documentaries produced between 1987 and 2002. It discusses each of these films in order to find aspects that characterize the way in which the director performs the narratives in the type concerned. / Mestrado / Mestre em Multimeios

This paper presents an extended analysis of my two recent feature documentaries, RFK Must Die: The Assassination of Bobby Kennedy (2008) and Children of the Revolution (2010), which seek to challenge state narratives and demystify the lives and actions of three central characters – Robert Kennedy’s convicted assassin Sirhan Sirhan, the German terrorist Ulrike Meinhof and Japanese Red Army leader Fusako Shigenobu. I explore key issues that arose during the production of these films, and the strategies a documentary filmmaker can use to re-investigate and re-present the lives of political subversives, using Pierre Bourdieu’s ‘field theory’ and Frederic Jameson’s ‘three levels of narrative’ as my theoretical framework. With RFK Must Die, I stress the primacy of the research and writing of documentaries in their power to challenge conventional wisdom and examine the interplay between historian, filmmaker and investigator in finding an alternative history. I explore the historiography of both Kennedy assassinations and the historical reliance on independent filmmakers to re-examine the state’s evidence and present the case for the defence. I also explore what issues affect credible witness testimony and what audiovisual evidence can tell us about a crime scene. I explore two key elements of Children of the Revolution: the decision to tell the stories of Meinhof and Shigenobu ‘through the eyes of their daughters’ and the use of archive concerning their revolutionary movements. I present a case study of my working relationship with Meinhof’s daughter, Bettina Röhl, analysing the complex issues of trust, identity and authorship that arose in telling Meinhof’s story from another person’s perspective. I also discuss the critical misalignment between the cost of archive and the budgets and prices paid for documentaries, and analyse the hypothesis of the recent Hargreaves Report (2011) that the audiovisual archive sector ‘is not fit for purpose for the digital age’.

This study is situated in a social documentary photography context, and is concerned to explore whether the collaborative interaction between photographer, subject (as collector) and material object (as collection) might enable a practice that presents a more mutual and subject-centred visual identity emerge. In particular, photographers Jim Goldberg and Gideon Mendel have focused more on the subject themselves, using collaborative processes such as photo-voice and photo elicitation, as well as the use of peoples’ handwritten captions on photographic prints themselves. Claudia Mitchell’s overview of visual methodologies is drawn on, together with Ken Plummer’s Documents of Life 2 (2001) and Gillian Rose’s Visual Methodologies (2001) to extend on these possibilities of conducting collaborative visual research.The practical component of this study focuses on personal collections and follows a number of theorists, including Susan Pearce, and John Elsner and Roger Cardinal. It follows Pearce’s identification of three major modes of collecting, and suggests that collections are essentially narratives of the self, and reveal experiences and expressions of personal desire. By drawing on these approaches and the various ways the twelve collectors were photographed, as well as implementing collaborative research processes (handwritten text, archival photographs and the re-staging of the collections), the study confirms Pearce’s three primary modes of collecting, and acknowledges that they are often interlinked or overlap one another. The study further found that a more subject voiced visual identity did indeed become apparent through the collaborative methods applied and discussed. The collaborative research equally demonstrated that these narratives of identity are not singular, but rather narratives of multiple, personal identities of the self.

The paper discusses how the semiotic relationships involved in the process of creating a documentary, interconnect and affect the documentary's truth claims from the perspective of Peirce's semiotic theory. To do this, I created an autobiographical film called 'Annabelle Blue' and then analyzed the experience. The making of 'Annabelle Blue' involved a number of representations, each of which involved the interplay of iconic, indexical and symbolic elements and each of which had a substantial influence on how the process continued. It is my contention that documentary's truth claims must be evaluated in light of the assumption that documentary representation is a dynamic, creative process involving the jostling for position between semiotic aspects at every level.

Orientador: Nuno Cesar Pereira de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T15:30:22Z (GMT). No. of bitstreams: 1 Molina_VivianaEchavez_M.pdf: 2846323 bytes, checksum: e768cf62d1e08e6c495adc6d99ac8573 (MD5) Previous issue date: 2014 / Resumo: A realização de um filme geralmente demanda o trabalho de um grupo de pessoas para se distribuir as tarefas criativas e de produção. Porém, dentro do cinema documentário tem sido vários os casos de cineastas que empreenderam sozinhos a realização de um filme. O presente trabalho de pesquisa pretende elucidar as consequências que traz consigo assumir um projeto cinematográfico de documentário em solitário, isto é com o diretor como único membro da equipe. Nesse sentido se fará uma análise da obra do cineasta norte americano Ross McElwee tendo em conta que ele desenvolve a maior parte da sua obra como uma equipe de uma pessoa só. Além disso, no presente trabalho se desenvolverá uma experiência prática de realização de um documentário nestas condições. A pesquisa prática será um caminho para observar através da experiência, como a decisão de filmar com uma equipe de uma pessoa só, se vê refletida tanto no processo de realização como na obra finalizada / Abstract: Filmmaking generally demands the work of a crew for the distribution of creative and production functions. Nevertheless, in documentary several directors undertook alone the process of filmmaking. The present research work aims to elucidate what consequences working alone in a documentary film may bring; in other words, what are the consequences for a film when the director is the only member of the film crew. In order to do that, we will make an analysis of American filmmaker Ross McElwee work, as he has built the most of his films as a one-person-film crew. In addition, as part of this research, we will make one documentary film as a one-person-film crew as a way to elucidate through practice, how this production choice is reflected in the filmmaking process and in film resulting out of this process / Mestrado / Multimeios / Mestra em Multimeios

The exposure of social problems such as forced disappearances is necessary for the history of society. The interactive documentary is a new digital proposal for the creation of spaces for the reconstruction of a social memory. In this paper, a content analysis is used to analyze the construction of the interactive narrative for the reconstruction of memory in the webdoc Forensic Landscapes and, with this, to identify its narrative composition in the construction of new spaces for the user’s experience. The interactive documentary generates a shared feeling between the user and the interface due to resources such as hypertextuality, database, narrative elements, representation modalities and interactivity. Thus, immersion is adhered, a new way of exposing a social theme in 360 degrees which recreates a sensory experience within an imaginary universe. Through the story, the memory of the agents involved in forced disappearances in Latin America is reconstructed.

Considering the current skepticism surrounding the impact and efficacy of nonprofit and nongovernmental organizations, some believe that a unique category of innovator known as the social entrepreneur may be society’s best hope for bringing innovative, scalable, and systemic solutions to bear on the world’s most intractable problems. Social entrepreneurs, as defined by Ashoka, have a unique set of characteristics that determine not only how they move within the world of social change-making but also how they communicate their ideas and mission to the public. This exploratory study reviewed how social entrepreneurs currently use documentary film and visual media in their communications strategy and public relations practice, what that tells us about the emerging culture of social entrepreneurs, and whether documentary, as defined by John Grierson, is an appropriate tool for these organizations. The author interviewed three founders, three communications professionals, and three filmmakers associated with social entrepreneurial organizations and observed a course for student filmmakers learning to make documentaries for social entrepreneurs. The findings of this study suggested that social entrepreneurs used documentary film as a communications tool when it aligned with their stated missions and goals but that cost, time, and control were significant barriers to implementation. Additionally, social entrepreneurs in all phases of development exhibited a unique set of cultural characteristics that interacted with the intent, content, and effect of their films in both positive and negative ways. The author also noted three distinct levels of filmmaker involvement with social entrepreneurial organizations that impacted the intent, content, and effect of their respective films. These levels of involvement are described as collaborative, independent, and interdependent. While the author offers some provocative observations about the role of documentary in social entrepreneurial organizations, this study remains exploratory in nature. She suggests several additional avenues of research that may further the scholarly conversation and continue to shed light on documentary film as communication for and by social entrepreneurs.

I have a compulsion to document my surroundings. I do this in all forms possible; through a picture text-message, a point-and-shoot camera, or through a high end camera. Like most women in contemporary society, I feel an expectation to be gorgeous. While I do not feel this pressure directly from my boyfriend or close friends, I am constantly surrounded by advertisements for beauty products enforcing the importance of being attractive. My current occupation as a cosmetic counter makeup artist relies on convincing women to enhance their appearance. I am fascinated by how easily I can persuade clients to purchase unnecessary products. My art is both a celebration and commentary on the beauty industry and contemporary consumerism. My approach to this series is varied and complex. The individuals photographed are unaware of their participation in the creation of my work. I do not intend to exploit the subjects or places that I photograph, rather my work comes from a very natural understanding of this environment based on several years working in a major department store. I attempt to attach multiple emotions of - empathy, humor, and sometimes sympathy - to the moments I capture. My work is not fabricated or recreated, - it is documentary. I am aware of the times I live in, and the people that inhabit these times and places. Once documented, the captured moments in time can be reflected on from a multitude of perspectives at a later place and time. Because I also contribute to the general shopping and grooming experience, the details of these images come from a trained eye and attentive approach. I have chosen to write this thesis in an auto-biographical narrative because I play many roles. I am the retail specialist, the artist, the photographer, and the consumer.

During World War II, four artists—filmmakers Walt Disney and John Huston, painter Jacob Lawrence, and cartoonist Bill Mauldin—were among the soldiers fighting on the front lines, and the officers and staff who supported them at home and abroad. I argue that the art they created during the war and in their themes, overt and covert resonates beyond the rhetoric of patriotism. Their work reveals the tension between an artist’s desire to support the soldiers and the cause, while questioning the purpose of the war and its destructiveness. The works discussed in this dissertation all operate on these two levels. Created within the historical context of patriotism and anti-fascism, they present a product aimed at support, designed to inform and persuade the American public about the threat of fascism, the realities of war, the strength and reserve of the soldiers fighting it, and the ultimate righteousness of the task ahead. At the same time, these works also reveal a skepticism about the war. Chapter 1 examines Jacob Lawrence’s paintings from his time in the Coast Guard, as well as his War and Hiroshima series. I explore the ways Lawrence’s experience shaped the form and the content of his war paintings. Chapter 2 looks at the wartime documentaries of John Huston: Report from the Aleutians (1943), San Pietro (1945), and Let There Be Light (1946) as well as Huston’s adaptation of The Red Badge of Courage (1951). This chapter shows Huston’s increasingly ambivalent attitude and skepticism about the war. Chapter 3 analyzes Bill Mauldin’s cartoons for Stars and Stripes, as well as his political cartoons printed after the war and his 1956 congressional campaign. I relate Mauldin’s own skepticism towards the war through my analysis of his main characters Willie and Joe, common soldiers frequently overwhelmed by the tedium of war and military bureaucracy. Chapter 4 explores the propaganda cartoons of the Walt Disney Studios, particularly Chicken Little, Education for Death, Der Fuehrer’s Face, and Reason and Emotion, situating them as precursors to Disney’s future works as an educator.