Esta dissertação é resultado de pesquisa acerca da representação da violência em alguns filmes das décadas de 80 e 90. Discuto, inicialmente, a especificidade da experiência cinematográfica, algumas abordagens antropológicas de filmes ficcionais, relações entre cinema e sociedade e mecanismos de produção, circulação e consumo de mercadorias visuais. Em seguida, introduzo a problemática da construção midiática da violência, situando os filmes neste contexto imagético e narrativo mais amplo. A abordagem interpretativa dos filmes selecionados identifica nesta produção recente a presença da violência não apenas como tema, mas na própria forma das imagens: imagens-violência. Através da análise fílmica e da montagem de fragmentos das obras, apresento seus discursos — ora irônicos, ora metalingüísticos — sobre o homem contemporâneo e sua relação com a comunicação visual reprodutível e a violência. / This dissertation is the result of a research about the violence representation in some 80’s and 90's movies. I discuss inicially the specificity of the cinematographic experience, some anthropological approaches on fictional films, relations between movie and society, and production, circulation and market mechanisms of visual merchandise. Next, I introduce the problem of mediatic construction of violence. The interpretative approach of the selected movies identifies, in this recent production, the presence of violence not only as a theme, but on the very form of images: image-violence. Through film analysis and montage of film fragments, I present its discourses – sometimes ironic, sometimes metalinguistic – about the contemporary man and his relation with the reproductible visual comunication and the violence.

Este trabalho propõe analisar a obra do cineasta brasileiro Carlos Oscar Reichenbach Filho (1945 - 2012), atuante desde o final dos anos 60 até a primeira década do século XXI, atentando para as principais coordenadas e inflexões de sua trajetória. Entre os principais filmes analisados destacam-se: Lilian M. (Relatório Confidencial) (1975), Filme Demência (1986) e Falsa Loura (2007). Notavelmente, a filmografia reichenbachiana apresenta um grau de heterogeneidade que pode ser remontada às intensas e subsequentes transformações históricas do país durante o período de sua realização, de tal modo que interessou-nos investigar como as frequentes mudanças no estilo e nos modos de produção do cineasta ajudaram a forjar uma postura artística particular - que chamaremos de Cinema Corsário - preocupada em garantir a sobrevivência profissional, bem como salvaguardar o máximo de autonomia crítica e liberdade criativa face às condições sociopolíticas e econômicas enfrentadas ao longo das rotas cinematográficas de Carlos Reichenbach. / This work proposes to analyze the work of brazilian filmmaker Carlos Oscar Reichenbach Filho (1945 - 2012), who has been active since the late 60s until the first decade of the 21st century, looking at the most remarkable coordinates and inflections of his career. Among the main films analyzed are: Lilian M. (Relatório Confidencial) (1975), Filme Demência (1986) and Falsa Loura (2007). Remarkably, the reichenbachian filmography presents a distinct degree of heterogeneity which can be related to Brazil\'s intense and subsequents historical transformations during the period of its realization, in such a way that interested us to investigate how such articulations helped to forge a particular artistic stance - that we will call Corsair Cinema - concerned about professional survival, as well as guaranteeing the maximum of critical autonomy and creative freedom in face of the sociopolitical and economical conditions presented throughout Carlos Reichenbach\'s cinematographic routes.

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / A presente dissertaÃÃo tem como tema de investigaÃÃo a Alteridade nas FamÃlias ContemporÃneas, dessa forma, objetiva refletir sobre o lugar do Outro na famÃlia a partir das contribuiÃÃes do pensamento de Emmanuel LÃvinas em sua Ãtica da alteridade radical. Apresenta como problema de partida as mudanÃas experimentadas nas sociedades contemporÃneas, principalmente no que diz respeito Ãs relaÃÃes de confianÃa. As sociedades contemporÃneas, com suas caracterÃsticas especÃficas em relaÃÃo Ãs modernas, apresentam alteraÃÃes nas experiÃncias de tempo e espaÃo. Tais modificaÃÃes tornaram possÃveis saberes e tÃcnicas que parecem incidir sobre uma perspectiva de administraÃÃo da vida, tendo impactos sobre a forma de interaÃÃo contemporÃnea. A relevÃncia deste trabalho se dà a partir da posiÃÃo centrada e destacada que a famÃlia ocupa no cenÃrio contemporÃneo. Os sistemas peritos e abstratos â sistemas de excelÃncia tÃcnica e de competÃncia profissional que ordenam o ambiente social e material em que vivemos â, na contemporaneidade, parecem investir no grupo familiar e adentrÃ-lo, tornando importante uma discussÃo a respeito de seus alcances e limites em relaÃÃo aos membros da famÃlia e, consequentemente, de como este grupo, em especÃfico, posiciona-se ante a alteridade. A metodologia utilizada se baseia nas contribuiÃÃes da anÃlise fÃlmica, da Antropologia Visual e na anÃlise da imagem, para que, atravÃs da visualizaÃÃo de obras cinematogrÃficas tomadas como documentos da cultura, possam ser tocados os elementos necessÃrios para essa investigaÃÃo. Os filmes Abril DespedaÃado e Boyhood sÃo analisados e foram escolhidos por suas temporalidades e espacialidades distintas com o objetivo de contemplar a diversidade das configuraÃÃes familiares, bem como traÃar um paralelo entre aspectos de permanÃncia e transiÃÃo nos conjuntos familiares. As obras destacadas permitem a visualizaÃÃo dos momentos de reproduÃÃo dos esquemas sociais mais abrangentes reiterados pela famÃlia, bem como os momentos de impugnaÃÃo destes mesmos esquemas, apresentando um sentido Ãtico tal qual nosso horizonte teÃrico fundamentado na Ãtica da alteridade radical. Abril DespedaÃado apresenta um cenÃrio de transiÃÃo de um modelo familiar tradicional situando-se em um contexto rural, jà Boyhood transcorre em um entorno eminentemente urbano passando por diversos modelos de associaÃÃo familiar. / This dissertation has as research theme the Alterity in Contemporary Families, in this way, aims to reflect on the place of the Other in the family from the contributions of the thought of Emmanuel LÃvinas in his ethics of radical alterity. It present as a starting problem the changes experienced in contemporary societies, especially in relation to relationships of trust. Contemporary societies, with their specific characteristics in relation to modern ones, present changes in the experiences of time and space. Such modifications have made possible the knowledge and techniques that seem to affect a life management perspective, having an impact on the form of contemporary interaction. The relevance of this work comes from the centered and detached position that the family occupies in the contemporary scenario. The expert and abstract systems - systems of technical excellence and professional competence that order the social and material environment in which we live -, in the contemporaneity, seem to invest in the family group and to enter it, making important a discussion about its scope and limits. In relation to the members of the family and, consequently, of how this group, in particular, stands in the face of otherness. The methodology is based on the contributions of film analysis, visual anthropology and analysis of the image, by viewing films taken as cultural documents, so the elements necessary for this investigation can be played. The films Abril DespedaÃado and Boyhood are analyzed and chosen for their temporalities and distinct spatiality in order to contemplate the diversity of family configurations, as well as to draw a parallel between aspects of permanence and transition in the familiar sets. The movies works allow the visualization about the moments from reproduction of the social schemas when it are reiterated by the family, as well as the moments of impugnation of these same schemas presenting an ethical sense as such in the understanding of our theoretical horizon based on the ethics of radical alterity. Abril DespedaÃado presents a scenario of transition from a traditional family model situated in a rural context, while Boyhood takes place in an eminently urban environment passing through several models of family association.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / A personagem Iracema, do romance indigenista de Josà de Alencar foi concebida para tornar-se a mÃe mÃtica do Brasil. Pouco mais de cem anos depois, Carlos Coimbra adapta canonicamente para o cinema a bela e corajosa Ãndia em Iracema, a virgem dos lÃbios de mel (1979). Todavia, cinco anos antes, Jorge Bodanzky e Orlando Senna haviam concebido em Iracema, uma transa amazÃnica (1974) uma Iracema mundana, com traÃos que a virgem dos lÃbios de mel jamais poderia ter, jà que foi criada para estar prÃxima ao divino e à castidade. Este trabalho aproxima esses filmes a partir da recriaÃÃo de suas Iracemas e do projeto de fundaÃÃo alencarino do Brasil. Levantamos uma discussÃo teÃrica acerca da adaptaÃÃo cinematogrÃfica e determinados aspectos que a ela se relacionam, como os conceitos de traduÃÃo e transcriaÃÃo, o paradigma da fidelidade, o luto na traduÃÃo e a questÃo da autoria. Investigamos a caracterizaÃÃo da Iracema de Alencar a partir de seus traÃos de heroÃna mÃtica e estabelecemos alguns paralelos entre caracterÃsticas das heroÃnas clÃssicas Pocahontas, cuja biografia ganhou contornos de mito; Atala, personagem do romance de FranÃois-Renà de Chateaubriand; e Dido, Camila e LavÃnia, trÃs personagens da epopeia romana âEneidaâ, de PÃblio VirgÃlio Maro. TraÃamos, entÃo, os perfis da Iracema de Coimbra e da Iracema de Bodanzky e Senna a partir de algumas tÃcnicas de anÃlise fÃlmica, como estudo de planos e sequÃncias e anÃlise do filme como narrativa. Aproximamos as personagens a partir de seus contrapontos e elaboramos uma reflexÃo sobre um traÃo identificado em ambas: o processo de erotizaÃÃo. Da bibliografia que norteou a elaboraÃÃo deste trabalho podemos destacar os estudos de Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont e Laura Mulvey. Encerramos com uma reflexÃo acerca da importÃncia histÃrica das produÃÃes cinematogrÃficas brasileiras e da numerosa quantidade de material de que dispomos para estudos em pesquisas acadÃmicas. / The character Iracema, of the novel of Jose de Alencar was conceived to become the mythical mother of Brazil. A little more than a hundred years later, Carlos Coimbra canonically adapts to the cinema the beautiful and courageous India in Iracema, a virgem dos lÃbios de mel (1979). However, four years earlier, Jorge Bodanzky and Orlando Senna had conceived in Iracema, uma transa amazÃnica (1974) a mundane Iracema, with traits that the virgin of the lips of honey could never have, since she was created to be close to the divine and the chastity. This work approximates these motion pictures from the reinvention of its Iracemas and the foundation project of Alencar. We raise a theoretical discussion about the cinematographic adaptation and certain aspects that relate to it, such as the concepts of translation and transcription, the paradigm of fidelity, bereavement in translation and the question of authorship. We investigated the characterization of Iracema de Alencar from his mythical heroine traits and established some parallels between characteristics of classic heroines, such as Pocahontas, whose biography gained contours of myth; Atala, character of the novel of FranÃois-Renà de Chateaubriand; and Dido, Camilla and Lavinia, three characters from the Roman epic "Aeneid", by Publius Virgilio Maro. We then traced the profiles of Iracema of Coimbra and Iracema of Bodanzky and Senna, from some techniques of film analysis, such as study of plans and sequences and analysis of the film as narrative. We approach the characters from their counterpoints and elaborate a reflection on a trait identified in both: the erotization process. From the bibliography that guided the elaboration of this work we can highlight the studies of Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont and Laura Mulvey. We conclude with a reflection on the importance of the history of Brazilian cinematographic productions and the large amount of material we have available for studies in academic research.

Esta dissertação tem como objetivo discutir a questão da subversão das fronteiras entre documentário e ficção a partir do estudo de um filme pioneiro a esse respeito: Eu, um negro (1958), do cineasta e etnógrafo francês Jean Rouch. Essa dualidade é incorporada à própria estrutura do trabalho e as reflexões em torno do filme são divididas em duas partes, uma mais próxima do campo de estudos do documentário, a outra mais afinada com os estudos acerca do cinema de ficção. No primeiro caso, foca-se nas estratégias de abordagem empregadas por Rouch na transposição do mundo histórico para o cinema, destacando-se a heterogeneidade de registros de imagem e som empregados neste processo. No segundo, é feita uma análise imanente do filme, com destaque para a questão das vozes e do foco narrativo. E a partir dessas leituras é feita uma reflexão sobre os aspectos clássicos e modernos de Eu, um negro, seja como uma ficção, seja como um documentário. / The aim of this dissertation is to discuss the subversion of the boundaries between documentary and fiction film by studying a pioneer film: Me, a black (1958), by the French filmmaker and ethnographer Jean Rouch. This duality is incorporated into the structure of this research, and the reflections on the film are divided into two parts, one closer to the documentary studies, the other more in line with the fiction film studies. In the first case, the focus is on the strategies employed by Rouch in the transposition of the historical world to cinema, highlighting the heterogeneity of image and sound records used in this process. In the second, an immanent analysis of the film is proposed, especially on the issue of voices and narrative focus. Finally, there is a discussion on the classical and the modern aspects of Me, a black, either as a fiction or as a documentary.

<p>The main objective of this thesis is to study representations of ‘the immigrant’ in Swedish films during the last 30 years – 1970-2000. The main question is whether the films are to be seen as reproducing the dominant order in society or as subversive practices. Another question is why the representations of ‘immigrants’ in some aspects differ between different historical periods. The films selected are films with ‘immigrants’ in central roles, which are analysed using a discourse analysis. My theoretical framework includes theories about discourse, ideology, myth, gender and ethnicity, in a feminist and postcolonial perspective. The main conclusion is that the films analysed here, reproduce and challenge dominant discourses at the same time; they can be seen as both reproductive and subversive practices. On the one hand ‘the immigrant’ is represented as sympathetic, which I interpret as an anti-racist counter discourse. On the other hand most of the films also, in accordance with the dominant discourse, represent ‘the immigrant’ as fundamentally different. ‘The immigrant’ is used as a tool in different internal and historically specific political debates to embody the solution to the conflicts experienced in society at large. When modern urban society is criticized, ‘the immigrant’s’ role is to represent values belonging to the traditional society. ‘The immigrant’ can thereby be said to represent an utopian desire, insofar as s/he and his/her culture are constructed as the positive opposite of what is seen as negative in Swedish society during a specific historical period.</p>

The main objective of this thesis is to study representations of ‘the immigrant’ in Swedish films during the last 30 years – 1970-2000. The main question is whether the films are to be seen as reproducing the dominant order in society or as subversive practices. Another question is why the representations of ‘immigrants’ in some aspects differ between different historical periods. The films selected are films with ‘immigrants’ in central roles, which are analysed using a discourse analysis. My theoretical framework includes theories about discourse, ideology, myth, gender and ethnicity, in a feminist and postcolonial perspective. The main conclusion is that the films analysed here, reproduce and challenge dominant discourses at the same time; they can be seen as both reproductive and subversive practices. On the one hand ‘the immigrant’ is represented as sympathetic, which I interpret as an anti-racist counter discourse. On the other hand most of the films also, in accordance with the dominant discourse, represent ‘the immigrant’ as fundamentally different. ‘The immigrant’ is used as a tool in different internal and historically specific political debates to embody the solution to the conflicts experienced in society at large. When modern urban society is criticized, ‘the immigrant’s’ role is to represent values belonging to the traditional society. ‘The immigrant’ can thereby be said to represent an utopian desire, insofar as s/he and his/her culture are constructed as the positive opposite of what is seen as negative in Swedish society during a specific historical period.

This thesis engages with the relationship between national identity, security-based narratives, and foreign policy. It focuses on the 1982 Lebanon War as the most controversial in Israel's history because it violated the Israeli societal norm of only fighting wars of self-defence (when there is no alternative to war). Through an examination of Israeli films about the 1982 war – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir and Lebanon – this thesis studies the identity crisis experienced by Israelis after the invasion of Lebanon and the coping mechanisms that helped Israeli society reconcile the war with the security-based narratives that inform collective identity in Israel. / Cette thèse a pour objet la relation entre l’identité nationale, les récits sécuritaires et la politique étrangère. Elle se base sur la Guerre du Liban de 1982 en tant que guerre la plus controversée des guerres israéliennes en raison de sa contradiction avec la norme israélienne de seulement mener des guerres de légitime défense (à savoir lorsqu'il n'y a aucun autre recours que la guerre). À travers un examen des films israéliens qui traitent de la guerre de 1982 – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir et Lebanon – cette thèse discute de la crise identitaire vécue par les Israéliens à la suite de l'invasion du Liban et s’intéresse aux stratégies d'adaptation qui ont aidé la société israélienne à réconcilier la guerre avec les récits sécuritaires qui font partie de la construction de l'identité collective israélienne.

The film <em>Der Untergang</em> (2004), directed by Oliver HIRSCHBIEGEL and written and produced by Bernd EICHINGER, is based on Joachim FEST's historical monograph <em>Der Untergang</em> (2002) and Traudl JUNGE's and Melissa MÜLLER's <em>Bis zur letzten Stunde</em> (2003). Taking place in April, 1945, the movie depicts the last days of Adolf Hitler and his staff in the 'Führerbunker'. The appearance of the film sparked wide-spread controversy concerning the propriety of Germans illuminating this most controversial aspect of their history. Specifically, the debate centred on the historical accuracy of the film and the dangers associated with the filmmakers' goal of portraying Hitler not as a caricature or one-sided figure but rather as a complete human being whose troubles and human qualities might well earn the sympathy of the viewers. <br /><br /> After surveying a variety of films that portray Adolf Hitler, the thesis analyses <em>Der Untergang</em> by focusing first on the cinematic and narrative aspects of the film itself and then on the figure of Hitler. It aims to demonstrate that the presentation of Hitler as a complex character reflects the circumstances of the film's time and culture. In particular, this thesis discusses two main aspects: first, it describes a figure of Hitler constructed in the film and conveyed to the viewers; second, it demonstrates that the film's construction of Hitler is embedded in the sociocultural context of the film's creation, thereby establishing that this is a Hitler for contemporary German society and the current state of German culture's reckoning with its fascist past. <br /><br /> The results of the analysis, in particular the depiction of Hitler and the representation of death and suicide, demonstrate that the film presents a multiple point of view. The film also faces the problematic issue of representing history adequately. The consideration of the German sociocultural context brings up some reasons that can explain the increased interest in the personal side of the perpetrators and especially in the figure of Hitler. <br /><br /> Finally, this thesis maintains that <em>Der Untergang</em> gives a complex but subsequently inconsistent picture of Adolf Hitler because it gets entangled by the attempt to be informative and entertaining at the same time. Though the film cannot replace historical investigation and analysis, it still informs Germans about Adolf Hitler and reflects how their society deals with its own troubled past.

In the age of multi-literacies, contemporary theories and devices are required to decipher increasingly complicated challenges which are presented by the digital technological revolution. Some of the existing approaches and frameworks of could inspire us but are not well equipped to address the complexities and multi-perspectives of the eccentric challenges that scholars face on diverse issues. Therefore, I present the critical semiotic order theory (CSOT) as a new eclectic theory to analyze discourse and moving and still images critically, semiotically and using systematic orders simultaneously.The theory has four hypotheses: 1) the positive and negative order hypothesis; 2) the zero value order hypothesis; 3) the chaos order hypothesis; 4) the semiotic indices order hypothesis. The theory was applied to three movies, and was successful in unearthing numerous perceptions and some were microscopic semiotic communicative indices and related them to polycentric Occidental ideologies.Hollywood has made over a thousand movies negatively stereotyping (NS) Arab/Muslim identities and voices (AMIVs) and the images in the vast majority are demeaning (Shaheen, 2009: 2). This research sets to find out whether the misconstruction of Arab/Muslim identities and voices (AMIVs) in three Hollywood movies are ordered, patterned, systematic, and related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments.The three movies showcase dozens of discursive microscopic critical semiotic orders and patterns of NS of AMIVs in discourse and still and moving image such as being: angry, dangerous, dirty, primitive, uncivilized, dishonest, cowards, fanatics, slaves, extremists, savages, liars, sorceress, killers, terrorists, mad dogs, child terrorists, suicide bombers, etc. The racism touches Arab/Muslims' (A/Ms) characteristics, personalities, races, cultures, traditions, histories, stories, folklores, costumes, images, etc.The analysis showed that there was a systematic pattern and order of NS of AMIVs within and across the three movies, and the NS is related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments for socio-cultural, socio-economic and socio-political investments in a vast complex web that some of it can go to hundreds of years in making. Nowadays, NS of AMIVs is done by many Westerners for various ideological agendas and investments, and they have appointed themselves as judge, jury and prosecutor.