Redefining Masculinity presents an analysis of the American government's portrayal of civilian men in World War II documentary films. The majority of the films, which serve as a primary source for this study, were created by the Office of War Information (OWI) as a means of stimulating home front support for the war. The government's portrayal of civilian men advocated a significant modification of gender roles. According to the OWI, men understood the politics of war, were aware of the national context of sacrifices, and were able to carry the government's message into American households and defense plants. As a result of their war consciousness, civilian men in government documentary films partially claimed the traditional domestic realm of women and redefined American gender roles as interactive and overlapping. The intersecting gender spheres in OWI films exemplify that men experienced manhood not in isolation from women. This propagandized image of civilian men during the Second World War supports the claims of scholars who criticize the ideology of "separate spheres" to describe socially constructed domains of the male and female gender. In contrast, the thesis findings show that the social, political, and economic definitions of male and female roles can be altered, extended, or adjusted when economically, politically, and culturally expedient. / Department of History

Ce mémoire de maîtrise a pour objectif de réaliser l’analyse de l’œuvre La Trilogía de Urabá des cinéastes colombiens Marta Rodríguez et Fernando Restrepo en considérant la notion de « mémoire » et comment celle-ci se développe dans ces documentaires à travers des témoignages et des pratiques culturelles comme les chroniques chantées, le dessin et la danse. Dans les films qui composent la trilogie, la mémoire se présente comme un mécanisme de résistance contre la violence subie par la population civile pendant le conflit armé en Colombie, époque durant laquelle la population civile a été sans cesse massacrée et forcée à abandonner son territoire. Notre analyse considère notamment le rôle que les documentaires attribuent aux femmes afro-colombiennes dans la construction de la mémoire culturelle et historique, étant donné que leurs témoignages dévoilent leur grand effort de résistance contre la violence. En second lieu, notre analyse vise à montrer comment La Trilogía de Urabá inscrit la mémoire culturelle dans la mémoire historique colombienne. / In this master's thesis we examine a trilogy of documentary films entitled: La Trilogía de Urabá by Colombian filmmakers Marta Rodriguez and Fernando Restrepo, and consider how “memory” is developed in these documentaries through testimonies and cultural practices such as sung chronicles, drawing and dance. In this trilogy, memory appears as a mechanism of resistance against widespread violence suffered by millions during the armed conflict in Colombia, a period in which civilians were massacred and forced to abandon their lands. Our analysis highlights the role of Afro-Colombian women in the construction of historical and cultural memory, and displays how their testimonies constitute acts of resistance against violence. In addition, this thesis shows how La Trilogía de Urabá inscribes cultural memory into the collective Colombian historical memory. / Esta memoria tiene como principal objetivo analizar la obra La Trilogía de Urabá de los documentalistas Marta Rodríguez y Fernando Restrepo considerando la noción de “memoria” y cómo ésta se desarrolla en ella a través de testimonios y prácticas culturales (crónicas cantadas, dibujo y danza). En las cintas que componen la trilogía, la memoria se presenta como una forma de resistencia contra la violencia sufrida por la población civil durante los años de conflicto armado en Colombia, época en la que la población civil fue repetidamente masacrada y forzada a abandonar sus territorios. Nuestro análisis considera especialmente el papel que los documentales otorgan a las mujeres afro-colombianas en la construcción de la memoria cultural e histórica, pues sus testimonios revelan su importante labor de resistencia contra la violencia. En segundo lugar, nuestro análisis apunta a cómo La Trilogía de Urabá inscribe esta memoria cultural en la memoria histórica colombiana.

The research aims at investigate the production process of the video |Mulheres Mangabeiras| (mangaba pickers women) in order to verify whether and how there was use of participatory methods. This is a qualitative and descriptive research, based on methodological procedures such as literature review and data collection through open interviews. Data analysis layed upon extracts from women speeches, which contains indicators about their involvement in ex tractive production, as well as their perceptions about public visibility and empowerment offered by the video production. The results show that mangabeiras were protagonists in a kind of participatory communication, pointing to the potential of participatory processes in audiovisual production as a reaffirmation of individual and collective identities, which also brings out critical mind, dialogue promotion and a conflict management tool. / A pesquisa tem como objeto a investigação do processo produção do vídeo "Mulheres Mangabeiras", visando verificar se e como houve emprego de métodos participativos. Trata-se de uma pesquisa qualitativa, de natureza descritiva, tendo como procedimentos metodológicos a revisão bibliográfica e a pesquisa de campo através de entrevistas abertas. A análise dos dados, realizada a partir de extratos de indicadores nas falas, buscou verificar o tipo de participação dessas extrativistas na produção, bem como suas percepções acerca da visibilidade pública e das ações de empoderamento proporcionadas pelo vídeo. Os resultados demonstram que as mangabeiras foram protagonistas de um tipo de comunicação participativa, apontando para as potencialidades dos processos participativos na produção audiovisual enquanto ferramenta de reafirmação de identidades individuais e coletivas, reflexão crítica, promoção de diálogo e administração de conflitos.

The research aims at investigate the production process of the video |Mulheres Mangabeiras| (mangaba pickers women) in order to verify whether and how there was use of participatory methods. This is a qualitative and descriptive research, based on methodological procedures such as literature review and data collection through open interviews. Data analysis layed upon extracts from women speeches, which contains indicators about their involvement in ex tractive production, as well as their perceptions about public visibility and empowerment offered by the video production. The results show that mangabeiras were protagonists in a kind of participatory communication, pointing to the potential of participatory processes in audiovisual production as a reaffirmation of individual and collective identities, which also brings out critical mind, dialogue promotion and a conflict management tool. / A pesquisa tem como objeto a investigação do processo produção do vídeo "Mulheres Mangabeiras", visando verificar se e como houve emprego de métodos participativos. Trata-se de uma pesquisa qualitativa, de natureza descritiva, tendo como procedimentos metodológicos a revisão bibliográfica e a pesquisa de campo através de entrevistas abertas. A análise dos dados, realizada a partir de extratos de indicadores nas falas, buscou verificar o tipo de participação dessas extrativistas na produção, bem como suas percepções acerca da visibilidade pública e das ações de empoderamento proporcionadas pelo vídeo. Os resultados demonstram que as mangabeiras foram protagonistas de um tipo de comunicação participativa, apontando para as potencialidades dos processos participativos na produção audiovisual enquanto ferramenta de reafirmação de identidades individuais e coletivas, reflexão crítica, promoção de diálogo e administração de conflitos.

Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littératures et de langues modernes] / Ce mémoire de maîtrise a pour objectif de réaliser l’analyse de l’œuvre La Trilogía de Urabá des cinéastes colombiens Marta Rodríguez et Fernando Restrepo en considérant la notion de « mémoire » et comment celle-ci se développe dans ces documentaires à travers des témoignages et des pratiques culturelles comme les chroniques chantées, le dessin et la danse. Dans les films qui composent la trilogie, la mémoire se présente comme un mécanisme de résistance contre la violence subie par la population civile pendant le conflit armé en Colombie, époque durant laquelle la population civile a été sans cesse massacrée et forcée à abandonner son territoire. Notre analyse considère notamment le rôle que les documentaires attribuent aux femmes afro-colombiennes dans la construction de la mémoire culturelle et historique, étant donné que leurs témoignages dévoilent leur grand effort de résistance contre la violence. En second lieu, notre analyse vise à montrer comment La Trilogía de Urabá inscrit la mémoire culturelle dans la mémoire historique colombienne. / In this master's thesis we examine a trilogy of documentary films entitled: La Trilogía de Urabá by Colombian filmmakers Marta Rodriguez and Fernando Restrepo, and consider how “memory” is developed in these documentaries through testimonies and cultural practices such as sung chronicles, drawing and dance. In this trilogy, memory appears as a mechanism of resistance against widespread violence suffered by millions during the armed conflict in Colombia, a period in which civilians were massacred and forced to abandon their lands. Our analysis highlights the role of Afro-Colombian women in the construction of historical and cultural memory, and displays how their testimonies constitute acts of resistance against violence. In addition, this thesis shows how La Trilogía de Urabá inscribes cultural memory into the collective Colombian historical memory. / Esta memoria tiene como principal objetivo analizar la obra La Trilogía de Urabá de los documentalistas Marta Rodríguez y Fernando Restrepo considerando la noción de “memoria” y cómo ésta se desarrolla en ella a través de testimonios y prácticas culturales (crónicas cantadas, dibujo y danza). En las cintas que componen la trilogía, la memoria se presenta como una forma de resistencia contra la violencia sufrida por la población civil durante los años de conflicto armado en Colombia, época en la que la población civil fue repetidamente masacrada y forzada a abandonar sus territorios. Nuestro análisis considera especialmente el papel que los documentales otorgan a las mujeres afro-colombianas en la construcción de la memoria cultural e histórica, pues sus testimonios revelan su importante labor de resistencia contra la violencia. En segundo lugar, nuestro análisis apunta a cómo La Trilogía de Urabá inscribe esta memoria cultural en la memoria histórica colombiana.

This film is an autobiographical documentary which tells the story of the process of documenting the filmmaker's trip to his land of heritage. As his plans for his journey and film begin to go awry, he begins to question the entire process of trying to connect with nation and place.