Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Jun 15

La tesi analitza set pel·lícules documentals de propoganda que sota el títol genèric de "Why We Fight" va produir el director Frank Capra per a l'exèrcit nord-americà, durant la Segona Guerra Mundial. La seva anàlisi permet d'establir quins són els trets ideològics bàsics dels Estats Units i fer un recorregut per la producció cinematogràfica nord-americana de finals dels anys 30 i principis del quaranta. / The thesis analyses "Why We Fight", seven propaganda documentaries films that Frank Capra produced by the American army, during the Second World War. The thesis establishes the main ideological sources of the American think and permits to know some of the most important American films produced during the last years of 30th decade and the first years of 40th.

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 50).

Neste trabalho comparamos dois documentários-propaganda das ditaduras do Brasil (1964-1985) e da Argentina (1976-1983). Nossa pesquisa busca desenvolver uma análise enunciativo discursiva dos dois documentários que permita estabelecer relações com aspectos das suas condições de produção e com as características do enunciador e do co-enunciador. Trata-se dos filmes, Brasil de Ontem, Hoje e Amanhã, exibido em 1975 no programa Amaral Netto, o Repórter da Rede Globo e Ganamos la Paz, exibido em 1977 no canal 7 da televisão argentina. Os dois filmes expõem a versão dos governos militares da situação política e social daqueles anos, justificando a necessidade de intervenção das forças armadas, que se apresentam como a única instituição capaz de conter o avance de um mesmo inimigo: o comunismo. A noção de condições de produção mostrou-se especialmente produtiva porque nos permitiu indagar o âmbito institucional dos dois países e a circulação de superfícies discursivas produzidas a partir de uma mesma doutrina na qual ambos os regimes se fundamentaram: a de Guerra Revolucionária francesa. O estudo do funcionamento e da modalidade de representação expositiva do gênero documentário (Nichols, 1997), as categorias de discurso constituinte (Maingueneau, 2008) e de heterogeneidade discursiva (Authier Revouz, [1982] 2011) foram fundamentais em nossa análise. Dessa forma, pudemos estabelecer não apenas relações interdiscursivas, mas também entre os diferentes lugares de dizer que o enunciador ocupa, a representação do inimigo e a interlocução representada nos dois filmes. / In this study we compare two propagandistic documentary films of the Brazilian (1964-1985) and Argentinean (1976-1983) dictatorships. Our research aims at carrying out a discourse and enunciation analysis in order to relate some aspects of their production conditions with the enunciator´s and co-enunciator´s characteristics. The films under study were Brasil de Ontem, Hoje e Amanhã, exhibited in 1975 on Rede Globo´s Amaral Netto, o Repórter show, and Ganamos la Paz, exhibited in 1977 on channel 7 in Argentina. Both films exposed the military government version of the political and social situation in those years, justifying the intervention of the armed forces which introduce themselves as being the sole institution capable of hindering the progress of the same enemy: communism. The production condition notion has proved to be productive since it allowed us to get into the institutional framework of both countries and into the circulation of discursive surfaces produced based on the same doctrine to which both governments adhere, namely the French Revolutionary War. The study of the functioning and representation mode of the documentary genre (Nichols, 1997), the constitutive discourse categories (Maingueneau, 2008), and the discursive heterogeneity (Authier Revouz, [1982] 2011) were of the utmost importance in our analysis. Therefore we were able to assess not only interdiscursive relations, but also the place of speech the enunciator occupies, the representation of the enemy and the interlocution represented in both films.

Orientador: Ernesto Giovanni Boccara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T12:47:43Z (GMT). No. of bitstreams: 1 Oliveira_MariaSilviade_M.pdf: 48527171 bytes, checksum: 669545299ee1899c435ca675ae113d43 (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa tem como objetivo dissertar sobre "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", uma poderosa criação realizada silenciosamente ao longo de 20 anos e eternizada através da sobrevivência das idéias de Marcel Duchamp. Espelho ou porta, o fato é que entre nós e as formas irreais que esfolam o olhar com suas arestas, há uma sala escura, tornando-nos sujeitos irremediavelmente cinematográficos. Aqui o cinema, mais especificamente o documentário, por registrar parcialmente a representação de fatos, envidou noções de verdade e realidade, abrindo um espaço privilegiado ao ser utilizado como fonte na sua forma mais envolvente e instigadora, alavancando dados norteadores para o desenvolvimento cognitivo do raciocínio. Ao atravessarmos a quietude de Étant Donnés vemos a "falta", um pedaço de tempo detido na mise-en-scène "feita para não ver" e somos transformados, à revelia, em voyeurs. Diante de tal espetáculo voyeurístico, embaraçoso e revelador, nossa culpabilidade é de quem surpreendeu um segredo. Partindo para novos padrões de interpretação desta obra inusitada, eclipsada e essencialmente carnal, vimo-nos forçados a passar pelo emaranhado tecido da memória de Marcel Duchamp. Enfim, saciando a fome de nossas almas famintas, Duchamp concretiza sua imagem cenográfica nesta iluminura tridimensional e nos permite colher, de um jardim medieval, a "Rosa de um Romance" e encontrar um banquete anadiômeno de maravilhas, onde, através de sonhos e espelhos, somos colocados frente a frente a nós mesmos / Abstract: This research had his focus on the study of "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", a powerful creation performed silently for 20 years and immortalized through the survival of the Marcel Duchamp ideas. Mirror or door, the fact is that between us and the unreal forms that hurt the eyes with its edges, have a dark room, making us subject hopelessly cinematographic. Here the film, specifically the documentary, that made the partly record of the representation of facts and showed notions of truth and reality, opened a privileged space to be used as a data source in its most engaging and instigator, that guided us to the development of the cognitive reasoning. When we go through the stillness of Étant Donnés see the "lack", a piece of time detained in mise-en-scène "made not to see" and we are processed, involuntarily, in voyeurs. Faced with such a voyeuristic spectacle, embarrassing and revealing our guilt are some who surprised a secret. Leaving for new Standards of interpretation of this unusual masterpiece, eclipsed and essentially carnal, we found ourselves forced to pass through the tangled memory texture of Marcel Duchamp. Finally, satiating the hunger of our hungry souls, Duchamp realizes his scenographic image in this three-dimensional miniature and allows us to reap, of a medieval garden, the "Rose of a Romance" and find an anadyomene banquet of wonders, where, through dreams and mirrors, we are placed face to face ourselves / Mestrado / Multimeios / Mestra em Multimeios

Orientador: Fernando Cury de Tacca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T08:32:10Z (GMT). No. of bitstreams: 1 Nunes_Caue_M.pdf: 2067919 bytes, checksum: 81f6a5636a7aac20af8f815a782827be (MD5) Previous issue date: 2012 / Resumo: Essa pesquisa propõe uma investigação sobre o documentário audiovisual e sua interlocução com o conceito de "falso", a partir de alguns filmes que se utilizam de narrativas que mesclam "ficção" com "documentário". Ao final, há uma proposta de roteiro de um falso documentário cujo tema é a ciência, o terceiro elemento que dialoga com os conceitos de "documentário" e "falso" / Abstract: This research proposes an investigation into the audiovisual documentary and its dialogue with the concept of "false", from some movies that use narratives that mix "fiction" with "documentary". At the end, there is a proposed script for a fake documentary whose subject is science, the third element that dialogues with the concepts of "documentary" and "false" / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural

To supplement student recruiting efforts, the Office of Admissions and Records, North Texas State University (rSU), funded a color sound promotional film, North Texas Now (NTi), describing academic and nonacademic services and activities of NTSU and its surrounding area. NT uses fast-paced montage and contemporary music, and for contrast and historic perspective, it opens and closes with sepia photographs depicting the early days of NTSU. An accompanying production book describes the making of NTN, examines the background against which NT2 was proposed, describes problems and procedures of production, analyzes the film, and offers recommendations for other university film productions,

Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.

Orientador: Celso Luiz Figueiredo Bodstein / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem e Laboratório de Estudos Avançados em Jornalismo / Made available in DSpace on 2018-08-27T09:24:37Z (GMT). No. of bitstreams: 1 Duarte_CristianeDelfinaSantos_M.pdf: 52168426 bytes, checksum: 9696051ddf4abd8b9ea024d046b5b080 (MD5) Previous issue date: 2015 / Resumo: O presente trabalho busca a construção, em audiovisual e em texto, do perfil da arqueóloga Niéde Guidon, pesquisadora premiada e condecorada internacionalmente. Atualmente com 82 anos, Niéde é neta de franceses e de um casal de militar brasileiro com índia Kaingang. Ela tem sido uma forte atuante em pesquisas e ações sociais na região do sudeste do Piauí desde 1973, quando visitou pela primeira vez sítios arqueológicos de pinturas rupestres encontrados por moradores da área, que a levaram, então, à formação da primeira missão Franco-Brasileira de pesquisas e, posteriormente, do Parque Nacional Serra da Capivara e da Fundação Museu do Homem Americano. Com a captação em vídeo de mais de dez horas de entrevistas diretas com a pesquisadora e mais de 40 horas de material audiovisual, entre imagens e entrevistas com pessoas envolvidas em sua vida, seu trabalho e na construção do Parque Nacional Serra da Capivara, apresenta-se aqui um perfil de Niéde, administrando sua expressão pública controversa e tratando também dos sentidos produzidos na entrevistadora/documentarista; frutos deste processo sem o vínculo direto com a verdade e com maior interesse na manipulação estética dos sentidos e memórias. As entrevistas são organizadas e comentadas em paralelo à polifonias de autores e participantes da vida da pesquisadora e funcionam como disparadores de reflexões sobre História, Política, Autoria e temas que perpassam os diálogos e as relações estabelecidas no processo de produção do documentário "A Mulher Original" / Abstract: This paper builds, with audiovisual and text, a profile of Niéde Guidon, an eighty two years old Brazilian archaeologist, granddaughter of french immigrants and a couple of a Brazilian army officer and a Kaingang native. After building a strong career in research in France, in 1973 Guidon first visited archaeological sites of rock paintings in the southeastern region of Piauí¿Brazil, found by residents of the area, which led her to the organization of the first French¿Brazilian mission research, and later to the foundation of the National Park Serra da Capivara, the Museum of the American Man Foundation and a path of many social works around the park.?With over ten hours of direct interviews with the researcher, captured on video, and 40 hours of images and interviews with people involved in her life, her work and the construction of the National Park Serra da Capivara; also with citations of interviews conducted by different authors and institutions in recent years, I introduce a character profile and her public controversy image, dealing with the feelings and impressions developed on me as interviewer/documentarist, without the direct link with the truth and facts, but higher interest on handling aesthetic senses and memories of the process itself. Inspired by essays and literary journalism, the interviews will be arranged and discussed in parallel to the polyphony from various authors and participants in the life of the researcher. The Original Woman intends to trigger thoughts on history, politics, authorship and themes that pervade the dialogues and the relationships established in the process of documentary production and construction of this text; assuming an establishment of exchanges and interactions between interviewer and interviewees, and also discussing the documentary production process / Mestrado / Divulgação Científica e Cultural / Mestra em Divulgação Científica e Cultural