Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ao enfocar o filme de família no contexto da produção pós-moderna, esta dissertação tem por intenção debater a questão da autenticidade, bem como o processo de legitimação cultural de sub-gêneros fílmicos afins surgidos na década de 60, como o filme diário e o filme pessoal. A proliferação deste tipo de produção uma espécie de meio-termo entre auto-etnografias e filmes de arte - desafia as ciências sociais e, mais especificamente, a antropologia visual contemporânea a compreender a emergência de novas formas audiovisuais de representação social. A partir do estudo pioneiro de Bourdieu sobre a função social da fotografia, debate-se a estetização do território familiar e a função social do filme amador. / Focusing on the home movies in the context of post-modern culture, this dissertation intends to debate the question of authenticity, as well as the process of cultural legitimation of filmic sub-genres originated in the sixties: the diary film and the personal film. The proliferation of this type of film production something in-between the autoethnographies and the art films challenges the social sciences and, more specifically, the contemporary visual anthropology to understand the appearance of new audiovisual forms of social representation. The important work of Bourdieu on the social rules of photography is a starting point to debate the aesthetics of private family domain and the social rules of amateur film

Cette thèse monographique, consacrée à l'oeuvre filmique du cinéaste expérimental Stan Brakhage, constitue un apport en histoire et en esthétique du cinéma. Une recherche en archives a permis l'analyse de la filmographie complète du cinéaste composée de près de quatre cent films réalisés entre 1952 et 2003, et l'étude de ses archives non-film. Cette thèse propose une synthèse de ces analyses, dans une étude stylistique de l'oeuvre filmique du cinéaste.L'étude stylistique est fondée sur des analyses esthétiques, formelles et iconographiques.Un style naturaliste a pu être identifié et défini, avec en particulier les théories du naturalisme de Worringer dans Abstraction et Einfühlung, de Kris dans Le Style rustique, et de Zola avec la méthode expérimentale, réactualisées avec les théories du modernisme dont de Greenberg, et adaptées aux formes cinématographiques avec les théories d'Eisenstein et de Brakhage. Cette thèse stylistique prétend donner une synthèse d'ensemble monographique. / This monographic thesis, dedicated to the film work of the experimental film-maker Stan Brakhage, constitutes a contribution in film history and aesthetics. A research in archives allowed the analysis of the complete filmography of the film-maker composed of about four hundred films made between 1952 and 2003, and the study of its non-film archives. This thesis provides a synthesis of these analyses, in a stylistic study of the film work of the film-maker.Stylistic study is founded on aesthetic, formalist and iconographic analyses. A naturalist style could be identified and defined, with particularly the theories of the naturalism byWorringer in Abstraction and Einfühlung, by Kris on rustic style, and by Zola with experimentalmethod, updated with the theories of modernism including by Greenberg, and adapted to filmforms with the theories of Eisenstein and Brakhage. This stylistic thesis pretends to give anoverall monographic synthesis.

Jouzová, T.: Connection between film and visual art in the 1st half of the 20th century, [Master thesis], Prague 2017-Charles University, Faculty of Education, Department od Art Education, , 150p. (Attachments: art work of pupls and my own work on DVD) Master thesis is focused on connection between visual art and film in the1st half of the 20th century from the perspective of art history and film history and theory of filmu. It deals with significant art and cinematic styles, trends and lines which connects the sphere of film and visual art. I enrich the historical context through etymological point of view on the modern art and I use subjective associations to this etymological contexts. The mutual content, stylistic and artistic bases are substantiated by the examples of visual artists interested in making movies. In the theoretical text are indicated some didactic subtopics related to the subscribed topics out of artistic view. Some of these inserts can be used separately, some of these are connected to the didactical part of the work. There are the projects linking art and film production in a historical context. Knowledge and experience I've gained of the preceding parts of the text are reflected in my own multimedial instalation. KEYWORDS film avantgarde, modern art, expressionism,...

This thesis is a primer on the experimental independent animator Don Hertzfeldt, whose filmography—described by one critic as “a singular universe of stick figures in crisis”—has for more than two decades been engaging some of the larger questions of post-millennial existence, particularly with regard to consciousness, temporality, and death. First, I will briefly introduce who Hertzfeldt is as an auteur (where he comes from, where his primary interests lie, and what his impact has been); second, I will provide an overview of the historical context in which his oeuvre should be placed (i.e. the history of animation and of experimental cinema); third, I will closely analyze his work, examining questions of style and narrative, starting from his student films and continuing to his more recent films; and fourth, I will explore some of the philosophical implications of recurring Hertzfeldtian motifs and themes (particularly with regard to consciousness, temporality, and death) before concluding.

"Our search for understanding in matters of race automatically incline us toward blackness, although that is not where these answers lie." – Nell Irvin Painter. Over the course of, and in partial fulfillment for, the degree of Bachelor of Fine Arts in Studio Art and the degree of Bachelor of Fine Arts in Film Production, I have produced a multimedia body of work. I made this body of work as a reflection and result of my processes and studies, and as a method to examine perception, and representation in relation to identity. This body of work combines drawing, painting, printmaking, ceramics, and filmmaking; utilizing each medium to scrutinize language, particularly that of the terms "black" and "white" and their cultural relationships to each other. Through this practice, my work evolved into a study of expectation, as situated through language, and conventional understanding. This work adds to the discourse on spaces and expectations of marginalized communities, art, and continues the tradition of the artists' practice as a form of research. I also position this work in relation to current mass culture iconography while using a distancing effect to explore concepts of martyrdom and minstrelsy as reflections of expectations on my own experience.

Esse texto é fruto da investigação sobre o uso do som e da música no filme experimental latino-americano, especificamente, nos concentramos nas experiências e conexões realizadas pelos cineastas Glauber Rocha (Pátio, 13 min, 1959) e Hugo Santiago (Invasión, 129 min, 1969) com músicos experimentais para criarem as trilhas sonoras de seus filmes. Distintos tanto em duração quanto no modo de tratamento dos materiais sonoros, os dois filmes apresentam uma montagem sonora que se utilizou de resquícios de sons concretos e músicas experimentais pré-existentes, provocando estremecimentos na forma geometrizada e racional trazida pelas bandas imagéticas dos filmes. / This text is the result of an inquiry into the usage of sound and music in the Latin American experimental film. The foccus is more especifically on the experiences and connections made by the filmmakers Glauber Rocha (Pátio, 1959) and Hugo Santiago (Invasión, 1969) with experimental musicians to create the soundtracks for their films. Although the films are distinct in both the duration and in the treatment mode of sound materials, they present a sound assembly that used remnants of concrete sounds and preexisting experimental music that lead to shudders in the geometrized and rational form brought by the imagery bands of the films.

Este trabalho analisa os usos do material de arquivo, as construções discursivas e a visão historiográfica deles decorrentes em dois filmes dedicados a personagens da música popular brasileira, em particular do samba: o curta-metragem A voz e o vazio: A vez de Vassourinha (1998), de Carlos Adriano, e o longa-metragem Cartola, música para os olhos (2006), de Lírio Ferreira e Hilton Lacerda. Os dois filmes estão construídos a partir de uma perspectiva da estética found footage, com o material de arquivo operando como base indicial para novos arranjos de sentido na interpretação da história. A análise busca identificar os nexos criados pelas duas obras e a variada gama de diálogos culturais que podem ser inferidos de sua leitura. Em destaque, o lugar que a música popular ocupa na cultura urbana brasileira. Ao fazê-lo, o trabalho identifica matrizes estéticas comuns, como o cinema de invenção de Julio Bressane, mas que resultam em diferentes abordagens historiográficas: uma, signatária de uma visão pós-moderna; a outra, mais próxima a uma atualização da crônica histórica. / This dissertation analyses the use of archive material, the discursive constructions and the resulting historiographic vision in two films dedicated to personalities from Brazilian Popular Music, particularly from samba: the short film The voice and the void: Vassourinhas turn (1998), by Carlos Adriano, and the feature film Cartola, music for the eyes (2006), by Lírio Ferreira and Hilton Lacerda. Both films were assembled from the perspective of found footage aesthetic, in which the archive material indicates new arrangements of meaning for the interpretation of the story.The analysis aims to identify the nexuses created by the two works and the varied range of cultural dialogues that may be inferred from their interpretation. Special attention is given to the place of popular music in Brazilian urban culture. As a result, common aesthetic matrixes are identified, such as Julio Bressanes cinema of invention, resulting, however, in different historiographic approaches: one, signatory of a post-modern vision; the other, more similar to an update of historic chronicles.

You Had to Have Been There challenges the role of fetishistic materiality throughout Film Studies using the history of New York underground film and video production from 1965 to 1985. It focuses on four situations of underground film and video production and exhibition: the relationship between Andy Warhol and the Velvet Underground's Exploding Plastic Inevitable and the Film-makers' Cinematheque, the screening of Michael Snow's Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen at Anthology Film Archives, the production of work by Ed Emshwiller, Nam June Paik, Steina and Woody Vasulka, Bill Viola, and other artists at WNET's Television Laboratory, and the exhibition of No Wave Cinema by Beth and Scott B, Lizzie Borden, Vivienne Dick, John Lurie, James Nares, and others at Max's Kansas City, the Mudd Club, and the New Cinema. This project uses the above exhibition sites to argue for the importance of liveness and presence in recording media, considering the affect of liveness not only on our definitions of cinema, but also on the relationship between cinema and historiography. While a canon of experimental film has emerged within Film Studies, determined by the alignment of experimental filmmakers and the academy, this dissertation carves out an alternate corpus of works screened in non-traditional environments. It finds an affinity between such spaces and the project of post-classical apparatus theory, both of which challenge the regimented space of traditional film spectatorship. The films and videos of this project are connected by two crucial elements: their location in New York City and their attention to sound. The personnel involved in the creation and reception of these films and videos constitute a network forum, or a group of artists who use the spaces of reception and production to reconfigure assumptions about film and video. Some of these spaces share direct links and touchstones, while others are tied together by shared concerns. One shared concern is a critical approach to the relationship between sound and image within cinema. Michael Snow and the filmmakers of the No Wave use pre-existing ideologies of sound to challenge cinematic presence and absorptive spectatorship while embracing the limits of subcultural spectatorship. The Exploding Plastic Inevitable and the Television Laboratory embrace sound's power as present, reorienting our perspective on the relationship between technology and the body. Taken together, these exhibition sites argue for the importance of sound and liveness in understanding experimental film history. They also suggest alternative modes of spectatorship that might hold productive power in our current media environment of hyper-reproduction and communicative capitalism.

Este trabalho analisa os usos do material de arquivo, as construções discursivas e a visão historiográfica deles decorrentes em dois filmes dedicados a personagens da música popular brasileira, em particular do samba: o curta-metragem A voz e o vazio: A vez de Vassourinha (1998), de Carlos Adriano, e o longa-metragem Cartola, música para os olhos (2006), de Lírio Ferreira e Hilton Lacerda. Os dois filmes estão construídos a partir de uma perspectiva da estética found footage, com o material de arquivo operando como base indicial para novos arranjos de sentido na interpretação da história. A análise busca identificar os nexos criados pelas duas obras e a variada gama de diálogos culturais que podem ser inferidos de sua leitura. Em destaque, o lugar que a música popular ocupa na cultura urbana brasileira. Ao fazê-lo, o trabalho identifica matrizes estéticas comuns, como o cinema de invenção de Julio Bressane, mas que resultam em diferentes abordagens historiográficas: uma, signatária de uma visão pós-moderna; a outra, mais próxima a uma atualização da crônica histórica. / This dissertation analyses the use of archive material, the discursive constructions and the resulting historiographic vision in two films dedicated to personalities from Brazilian Popular Music, particularly from samba: the short film The voice and the void: Vassourinhas turn (1998), by Carlos Adriano, and the feature film Cartola, music for the eyes (2006), by Lírio Ferreira and Hilton Lacerda. Both films were assembled from the perspective of found footage aesthetic, in which the archive material indicates new arrangements of meaning for the interpretation of the story.The analysis aims to identify the nexuses created by the two works and the varied range of cultural dialogues that may be inferred from their interpretation. Special attention is given to the place of popular music in Brazilian urban culture. As a result, common aesthetic matrixes are identified, such as Julio Bressanes cinema of invention, resulting, however, in different historiographic approaches: one, signatory of a post-modern vision; the other, more similar to an update of historic chronicles.

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