My Perfect Little Doll tells the story of a fourteen year old girl, Jenny, who lives with her adopted parents and has a fascination with dolls. Her father is a troubled man who suffers from violent mood swings due to a work-related injury. He blames the world for his ailments. Jobless and home-stricken, Jenny's father is a frustrated individual who has built up anger and resentment over the years. Without proper medication, his problem becomes severe. His mood swings lead to abusive behavior toward shy Jenny, who constantly blames herself for her father's abusive ways. Through a flashback, we learn of the special relationship that Jenny has with Laura, a classmate. Laura feels a duty to help the powerless, which leads her into a friendship with Jenny. Eventually, Jenny invites Laura to her house to seek comfort during times of chaos. Upon arrival, Laura sees one of Jenny's father's violent mood swings and his ability to slip into abusive behavior. Eventually, Laura witnesses Jenny's father's physical abuse on Jenny and tries to convince her to leave. However, Jenny is torn between the love for her father who can be a loving, gentle man, and her own need for safety. This story weaves its tale with a mixture of pathos and hope. Based on a true story, this film draws from the multileveled emotions that the situation contains. The drama is framed in reality, where even the monsters have hearts. We learn that it is the victim as much as the perpetrator who denies the problem. But what will the victim do when offered a chance to escape...?

The diploma thesis Contemporary Czech film trailer and its role in the promotion of the film in the context of foreign production deals with the film trailer. The first part deals with the development of the film trailer abroad, particularly in the United States of America. It describes every single time period up to the present day and outlines the future trends in its development. The second part comprehensively analyzes all components of cinematic trailer. It describes the process of making movie trailers, classifies it in the film marketing communication mix and examines its role in the film promotion. It refers to manipulative function of trailer and deals with its control. Finally, describes the process of distribution trailer and shows the various distribution channels. All of these issues compare the situation in the U.S. and the Czech Republic. The final section focuses on the Czech film trailer. First, it maps its history from the beginning to the present. Then it puts these findings into the context of the Czech film history and the history of the Czech movie promotion. Further thesis will focus on the current situation in the Czech trailer. Analyzes it from the perspective of film critics and trailer makers and presents all factors influencing the form of trailers. In conclusion, the...

Made available in DSpace on 2016-04-25T20:22:20Z (GMT). No. of bitstreams: 1 Marlivan Moraes de Alencar.pdf: 1569438 bytes, checksum: e1d10bb9934aeaebcc811dd29117a1d7 (MD5) Previous issue date: 2008-06-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis argues the images of the metropolis constructed by the contemporary Brazilian cinema. The analysis foresees at least three elements that are on the basis of this cinema: (1) the fi lm as an intellectual experience and mediation; (2) the necessity to consider the fi lm form as a fundamental element in the construction of this mediation; and (3) the city as an environment mobilized for the interaction between the people and the modifi ed space. For the present study it was selected four feature fi lm fi ctions, directed by young movie makers from different Brazilian states: O Invasor (2001), of Beto Brant, O homem que copiava (Rio Grande do Sul, 2002), of Jorge Furtado; Amarelo Manga (Pernambuco, 2002), of Cláudio Assis;; and, O outro lado da rua (Rio de Janeiro, 2004), directed by Marcos Bernstein. All of them deal with the comprehension of the images as something capable to set the imaginary, and, to assume with the motivational questionings of this thesis the inquiries on what and how these movies are thinking the life in metropolis. The analysis is structured from the relationship between subject/personage and the urban environment, considered as force lines to defi ne conceptual cities identifi ed by those relationships. The adopted theoretical position assumes a multidisciplinary character as a necessary condition for the analytical process, connected to areas such as Anthropology, Sociology, Philosophy and Cinema Theory, among others. The thesis is divided in three chapters: the fi rst one is a discussion that considers O invasor (2001) and O homem que copiava (2002) as similar movies since they have a structural similarity, which is the point of view of the metropolis as a place still under construction, a process of transformation between the virtual and the reality; and for this reason the chapter is titled Virtual city . The second chapter titled The city to drift (adrift) approaches the fi lm feature from Pernambuco as a movie composed by floating images that try to prove the thesis of its director about the misery in man s life. Finally, the third chapter, titled The body-city , considers that the movie of Bernstein, through a classic decoupage, approaches its protagonist to the metropolis in order to con- fi gure among them an almost indissociated relationship / Esta tese discute as imagens da metrópole construídas pelo cinema brasileiro contemporâneo. A análise prevê pelo menos três elementos que lhe servem de base: (1) o fi lme como pensamento e mediação; (2) a necessidade de considerar a forma fílmica como fundamental na construção dessa mediação e (3) a cidade como um ambiente mobilizado pela interação entre as pessoas e o espaço modifi cado. Para o estudo foram selecionados quatro longasmetragens de fi cção, dirigidos por jovens cineastas originários de estados diferentes: O invasor (São Paulo, 2001) de Beto Brant, O homem que copiava (Rio Grande do Sul, 2002) de Jorge Furtado; Amarelo manga (Pernambuco, 2002) de Cláudio Assis e O outro lado da rua (Rio de Janeiro, 2004), dirigido por Marcos Bernstein. Trata-se de entender as imagens como capazes de acionar imaginários, e de assumir com questionamento motivador desta tese a pergunta sobre o quê e de que modo os fi lmes estão pensando a vida na metrópole. A análise se estrutura a partir das relações entre sujeitos/personagens e ambiente urbano, tomadas como linhas de força a defi nir cidades conceituais identifi cadas através dessas relações. A postura teórica adotada assume um caráter multidisciplinar como condição necessária para o processo analítico, agenciando áreas como antropologia, sociologia, fi losofi a e teoria do cinema entre outras. A tese se divide em três capítulos: o primeiro discute O invasor e O homem que copiava como fi lmes que se assemelham por estruturarem uma idéia de cidade que está em devir, em processo de transformação entre o virtual e o atual, daí seu título: A cidade virtual ; o segundo A cidade à (ou na) deriva aborda o longa pernambucano como um fi lme composto por imagens à deriva que buscam comprovar a tese de seu diretor sobre a miséria do homem; e o terceiro capítulo, Cidade-corpo , considera que o fi lme de Bernstein, através de uma decupagem clássica, aproxima sua protagonista da metrópole de modo a confi gurar entre elas uma relação de quase indissociabilidade

Made available in DSpace on 2016-04-26T14:57:09Z (GMT). No. of bitstreams: 1 Marlivan Moraes de Alencar.pdf: 1569438 bytes, checksum: e1d10bb9934aeaebcc811dd29117a1d7 (MD5) Previous issue date: 2008-06-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis argues the images of the metropolis constructed by the contemporary Brazilian cinema. The analysis foresees at least three elements that are on the basis of this cinema: (1) the fi lm as an intellectual experience and mediation; (2) the necessity to consider the fi lm form as a fundamental element in the construction of this mediation; and (3) the city as an environment mobilized for the interaction between the people and the modifi ed space. For the present study it was selected four feature fi lm fi ctions, directed by young movie makers from different Brazilian states: O Invasor (2001), of Beto Brant, O homem que copiava (Rio Grande do Sul, 2002), of Jorge Furtado; Amarelo Manga (Pernambuco, 2002), of Cláudio Assis;; and, O outro lado da rua (Rio de Janeiro, 2004), directed by Marcos Bernstein. All of them deal with the comprehension of the images as something capable to set the imaginary, and, to assume with the motivational questionings of this thesis the inquiries on what and how these movies are thinking the life in metropolis. The analysis is structured from the relationship between subject/personage and the urban environment, considered as force lines to defi ne conceptual cities identifi ed by those relationships. The adopted theoretical position assumes a multidisciplinary character as a necessary condition for the analytical process, connected to areas such as Anthropology, Sociology, Philosophy and Cinema Theory, among others. The thesis is divided in three chapters: the fi rst one is a discussion that considers O invasor (2001) and O homem que copiava (2002) as similar movies since they have a structural similarity, which is the point of view of the metropolis as a place still under construction, a process of transformation between the virtual and the reality; and for this reason the chapter is titled Virtual city . The second chapter titled The city to drift (adrift) approaches the fi lm feature from Pernambuco as a movie composed by floating images that try to prove the thesis of its director about the misery in man s life. Finally, the third chapter, titled The body-city , considers that the movie of Bernstein, through a classic decoupage, approaches its protagonist to the metropolis in order to con- fi gure among them an almost indissociated relationship / Esta tese discute as imagens da metrópole construídas pelo cinema brasileiro contemporâneo. A análise prevê pelo menos três elementos que lhe servem de base: (1) o fi lme como pensamento e mediação; (2) a necessidade de considerar a forma fílmica como fundamental na construção dessa mediação e (3) a cidade como um ambiente mobilizado pela interação entre as pessoas e o espaço modifi cado. Para o estudo foram selecionados quatro longasmetragens de fi cção, dirigidos por jovens cineastas originários de estados diferentes: O invasor (São Paulo, 2001) de Beto Brant, O homem que copiava (Rio Grande do Sul, 2002) de Jorge Furtado; Amarelo manga (Pernambuco, 2002) de Cláudio Assis e O outro lado da rua (Rio de Janeiro, 2004), dirigido por Marcos Bernstein. Trata-se de entender as imagens como capazes de acionar imaginários, e de assumir com questionamento motivador desta tese a pergunta sobre o quê e de que modo os fi lmes estão pensando a vida na metrópole. A análise se estrutura a partir das relações entre sujeitos/personagens e ambiente urbano, tomadas como linhas de força a defi nir cidades conceituais identifi cadas através dessas relações. A postura teórica adotada assume um caráter multidisciplinar como condição necessária para o processo analítico, agenciando áreas como antropologia, sociologia, fi losofi a e teoria do cinema entre outras. A tese se divide em três capítulos: o primeiro discute O invasor e O homem que copiava como fi lmes que se assemelham por estruturarem uma idéia de cidade que está em devir, em processo de transformação entre o virtual e o atual, daí seu título: A cidade virtual ; o segundo A cidade à (ou na) deriva aborda o longa pernambucano como um fi lme composto por imagens à deriva que buscam comprovar a tese de seu diretor sobre a miséria do homem; e o terceiro capítulo, Cidade-corpo , considera que o fi lme de Bernstein, através de uma decupagem clássica, aproxima sua protagonista da metrópole de modo a confi gurar entre elas uma relação de quase indissociabilidade