Diploma thesis Semiotic analysis of Martin Scorsese's films focusing on Raging bull and The Wolf of Wall Street aims to capture unique and original signs in both films mentioned. Through semiotic analysis it examines key elements of film language - structure, means of expression in film and composition. The thesis also focuses on capturing director's characteristic filmmaking techniques and how these techniques and elements affect the viewer. At the same time it examines in detail various aspects of the director's films and film processing in both of them. It is also focusing on description of unique and specific items of Scorsese's work and analyze them in the context of the two works. The final part explains the cause of the original concept of author's films and his great success and popularity not only among film fans.

Este estudo aborda o enlace que se dá entre os sujeitos da adolescência e as novas séries audiovisuais. Os questionamentos levantados acerca da temática partiram da escuta realizada a jovens estudantes que buscaram atendimento psicológico em um setor de Assistência Estudantil de um Instituto Federal de Educação. E a pesquisa que aqui se configura apoia-se na aposta de que o estudo dessas produções culturais possa permitir saber um pouco mais sobre os sujeitos que as acessam. Para delimitação do objeto de pesquisa, optou-se por apenas uma dessas séries: Breaking Bad. Esta chamou a atenção pelo apelo que exerce junto ao público, bem como por trazer uma trama que remete a certo mal-estar, incomum às séries habitualmente acessadas pelos adolescentes até pouco tempo. Devido a isso, além do trabalho com o conceito de Adolescência (entendida aqui, de acordo com os pressupostos da teoria psicanalítica, como operação psíquica, um período de recapitulação, um só-depois do estádio do espelho), realiza-se também a articulação teórica com o conceito freudiano de Mal-estar na Cultura. Ainda, como referencial metodológico para análise da obra, utilizam-se os estudos que estabelecem diálogos entre Psicanálise e Cinema, concebendo o Cinema como linguagem e tomando a obra enquanto texto fílmico. Com isso, embora realizem-se algumas articulações acerca da narrativa, é priorizada a análise das operações por meio das quais signos fílmicos remetem uns aos outros, suscitando efeitos de sentido. Para tal análise utilizou-se de fragmentos do Episódio-piloto de Breaking Bad e suas possíveis associações a outras cenas de outros episódios. E, por fim, trata-se de elementos fílmicos que se destacaram durante a série e de como eles possibilitam tecer reflexões acerca do mal-estar na cultura e do sujeito da adolescência contemporânea. Destas reflexões, destacam-se as dimensões espacial e temporal, que são exploradas em profusão por meio de recursos formais presentes na obra e permitem pontos de diálogo diversos com a temática da adolescência. Observa-se ainda, que conforme a abordagem dada a algumas cenas, estes aparecem de forma propícia a evocar a questão do mal-estar (aqui entendido como topológico, marca de um lugar, de algo da ordem espacial), que já está amplamente presente em aspectos narrativos da série. Assim, trazemos uma discussão que revela alguns entrelaçamentos entre as Novas Séries Televisivas, Mal-Estar na Cultura e Adolescência. / This study addresses the link between adolescents and new audiovisual series. The questions raised about the theme came from listening to young students who sought psychological care in a student assistance sector of a Federal Institute of Education. This research is based on the bet that the study of these cultural productions may allow us to know a little more about these young people that access them. To delimit the research object, only one of these series was chosen: Breaking Bad. It drew attention because of its appeal to the public, as well as for its plot that points to a certain malaise, unusual for the series usually accessed by adolescents until recently. Due to this, alongside working with the concept of Adolescence (understood here, according to the presuppositions of psychoanalytic theory, as a psychic operation, a period of recapitulation, an afterwards the mirror stage), there is a theoretical articulation with the Freudian concept of Malaise in culture. Also, as a methodological reference for the analysis of the work, we use studies that establish dialogues between Psychoanalysis and Cinema, conceiving Cinema as language and taking the cinematographic work as filmic text. Thus, although some articulations about the narrative are made, we prioritized the analysis of the operations through which filmic signs refer to each other, provoking effects of meaning. For this analysis fragments of the Pilot Episode of Breaking Bad were used in its possible associations to other scenes from other episodes. Finally, this analysis looks at film elements that stood out during the series and how they make it possible to think about the malaise in the culture and the subject of the contemporary adolescence. Those reflections highlight the spatial and temporal dimensions, which are profusely explored through formal resources present in the work and allow various points of dialogue with the theme of adolescence. It is also observed that, according to the approach given to some scenes, these appear to be able to evoke the issue of malaise (here understood as topological, mark of a place, something of the spatial order), which is already widely present in narrative aspects of the series. Thus, we bring a discussion that reveals some interweaving between Breaking Bad, Malaise in Culture and Adolescence.

In der Praxis der Filmseminare mit Studentinnen und Studenten hat sich gezeigt, dass diese meist nicht über hinreichendes Vorwissen für Filmanalysen verfügen und ihnen auch die Fachbegriffe im Bereich der filmischen Gestaltungsmittel fehlen. Da die Filmanalyse-Seminare allein schon wegen der jedes Universitäts-Zeitraster sprengenden Filmlänge sinnvollerweise als Blockveranstaltungen durchgeführt werden, bekommen die Studenten zur Vorbereitung und als Hilfmittel für eigene Filmanalysen eine grundständige Einführung. Dieses Basiswissen über „Filmsprache und Filmanalyse in der Medienpädagogik“ ist in den letzten zwanzig Jahren immer wieder optimiert worden und wird in der vorliegenden Fassung an der TU Dresden und der Universität Duisburg/Essen eingesetzt. / The experience with film seminars for students has shown that these mostly do not dispose of enough foreknowledge for film analyses and they also lack the technical terms of the cinematic means. Since the length of films blows up each university time slot pattern, and therefore the seminars are conducted as block events, the students get an introduction from scratch in an orientation session as basic knowledge and tools for their own film analysis. This basic knowledge of \"film language and film analysis in the media education\" has been optimized again and again in the last twenty years and is used in the present version at the TU Dresden and the University of Duisburg/Essen.

The topic of this diploma thesis is a form of own personal space which is confronted with scene visuality used in film industry. It is about linking an existing and fictive (illusionary) environment. I can see the cinematographic space as an image of its physical equivalent. I do search for scenes in existing movies, which are charting the interiors of environments, where the movie is being set. I do use the camera moves and the ways of seeing the immediate surroundings as they are used in those scenes and I repeat them in my own private apartment. Screenplay structure comes from my apartment dispositions. The final dual channel video leads the spectactor through two levels of space in the same time.

In der Praxis der Filmseminare mit Studentinnen und Studenten hat sich gezeigt, dass diese meist nicht über hinreichendes Vorwissen für Filmanalysen verfügen und ihnen auch die Fachbegriffe im Bereich der filmischen Gestaltungsmittel fehlen. Da die Filmanalyse-Seminare allein schon wegen der jedes Universitäts-Zeitraster sprengenden Filmlänge sinnvollerweise als Blockveranstaltungen durchgeführt werden, bekommen die Studenten zur Vorbereitung und als Hilfmittel für eigene Filmanalysen eine grundständige Einführung. Dieses Basiswissen über „Filmsprache und Filmanalyse in der Medienpädagogik“ ist in den letzten zwanzig Jahren immer wieder optimiert worden und wird in der vorliegenden Fassung an der TU Dresden und der Universität Duisburg/Essen eingesetzt. / The experience with film seminars for students has shown that these mostly do not dispose of enough foreknowledge for film analyses and they also lack the technical terms of the cinematic means. Since the length of films blows up each university time slot pattern, and therefore the seminars are conducted as block events, the students get an introduction from scratch in an orientation session as basic knowledge and tools for their own film analysis. This basic knowledge of \'film language and film analysis in the media education\' has been optimized again and again in the last twenty years and is used in the present version at the TU Dresden and the University of Duisburg/Essen.

The first part of the thesis aims to provide basic background information for teachers prior to teaching FAE. The second part provides reflections on practical classroom teaching. The thesis also broaches the problems and possibilities which occur when working with with the film medium in the classroom.

Made available in DSpace on 2016-08-10T11:06:49Z (GMT). No. of bitstreams: 1 Domicio Moreira Ribeiro.pdf: 803668 bytes, checksum: e0bac1b7a1ca9fadb490d2e6320ed121 (MD5) Previous issue date: 2012-03-23 / This dissertation is a bibliographical research on translation, novel language and film language. Its aim is to compare, first, among themselves, three Portuguese language translations of the novel Pride and Prejudice, by Jane Austen. Then do the comparison of them with the source text in English. After that, make the confrontation of the namesake film language, adapted in 2005 and directed by Joe Wright, with the source language of the literary work. Translations were made by Lúcio Cardoso, Enrico Corvisieri e Roberto Leal Ferreira. In this research, we presented, first, a comprehensive theoretical framework of multiple methods and technical procedures of translation through a timeline that begins in the fourth century AD, with Jerome, and ends in 1990 with Jacques Derrida. Then we did a collation of the translations with the original work and a comparison of the film language with the source language of the novel. With respect to the above-mentioned translators, Roberto Leal Ferreira made the more literal and semantic translation, because it preserves the content and form of the source text. Regarding the film language, it is equivalent to the language of the novel in terms of language levels, though it is more concise because of the length of the movie, sticking to the crucial aspects of the fictional story. Conclusion shows that there is no mutual understanding regarding the definition of translation, nor exist procedures that address and solve all possible problems that may arise from various situations of translation. The methods and procedures address the same dichotomies: content and form, word translation and translation of meaning, fidelity to the author or to the reader, and nationalization or foreignization. We found that the novel Pride and Prejudice is a valuable laboratory to practice the technical procedures of translation, considering that various procedures, such as additions, deletions, omissions, clarifications, borrowings, literal translations, transpositions, modulations, equivalences and adaptations have been found in the evaluated translations. The relationship between translation, language of the novel and film language, often conflicting, is pacific in the collation between Pride and Prejudice, the movie and Orgulho e Preconceito, considering that the abovementioned translators and the film scriptwriter were able to bring into the target language and into the movie language the meanings of the source text without apparent losses. / Este trabalho consiste, fundamentalmente, numa pesquisa bibliográfica que discorre sobre tradução, linguagem romanesca e linguagem cinematográfica. Seu objetivo é, primeiramente, comparar entre si três traduções em Língua Portuguesa do romance Orgulho e Preconceito, de Jane Austen, e posteriormente cotejá-las com o textofonte em Língua Inglesa. Em seguida, pretende-se contrastar a linguagem do filme homônimo, adaptado em 2005 e dirigido por Joe Wright, com a linguagem original da obra literária. Para tanto, será apresentada, inicialmente, uma fundamentação teórica que trata dos vários métodos, bem como dos procedimentos técnicos da tradução, numa linha do tempo que começa no século IV d.C., com São Jerônimo, e se estende até os anos 1990, com Jacques Derrida. Logo após, realizar-se-á a comparação das traduções com a obra original e o confronto da linguagem fílmica com a linguagem-fonte do romance. Com relação às três traduções avaliadas, pretende-se verificar como os significados da obra original são transportados para a língua da tradução, sempre cuidando, cada uma a seu modo, para evitar as perdas. Nesse sentido, com relação aos trabalhos tradutórios de Lúcio Cardoso, Enrico Corvisieri e Roberto Leal Ferreira, urge atentar para este último, que realiza uma tradução mais literal e semântica, concernente ao conteúdo e à forma do texto-fonte. Acerca da linguagem fílmica, é preciso buscar a sua equivalência com a linguagem do romance em termos de registro, apesar de sua forma concisa, em função da duração do filme, atendo-se aos aspectos cruciais da obra. Observados tais aspectos, adianta-se que não haverá uma conclusão definitiva sobre o tema em debate, considerando não haver qualquer consenso a respeito das várias nuances que cercam o termo tradução, tampouco existem procedimentos que contemplem, elucidem e sanem os complexos problemas do ato tradutório. Desse modo, este trabalho corrobora a assertiva de que os métodos e procedimentos tradutórios, por mais ousados que sejam, não se afastam das dicotomias: conteúdo e forma, tradução da palavra e tradução do sentido, fidelidade ao autor ou ao leitor e nacionalização ou estrangeirização. Ele também se solidariza com a premissa de que a obra Pride and Prejudice é um valioso laboratório para a prática da tradução, tendo em vista que vários procedimentos técnicos, como acréscimos, apagamentos, omissões, explicitações, empréstimos, transposições, modulações, equivalências e adaptações podem ser encontrados nas traduções avaliadas. E, finalmente, que a relação entre tradução, linguagem romanesca e linguagem cinematográfica, geralmente conflituosa, se mostra harmônica no paralelo entre Pride and Prejudice, o filme e Orgulho e Preconceito, pois os tradutores mencionados e a roteirista conseguiram trasladar para a língua-meta e para a linguagem do filme, sem perdas aparentes, os sentidos da obra original.

Made available in DSpace on 2016-03-15T19:46:58Z (GMT). No. of bitstreams: 1 Fernanda Cristina Araujo Batista.pdf: 3619358 bytes, checksum: 16900d05c8f15fa7ca1ce34f689f8932 (MD5) Previous issue date: 2010-08-12 / Fundo Mackenzie de Pesquisa / This paper aims at analyzing the relation between Vladimir Nabokov s novel Lolita (1955) and Stanley Kubrick s and Adrian Lyne s film adaptations of the novel, the former released in 1962 and the latter in 1997. We will base our study on French semiotics, also known as greimasian semiotics, to analyze the effects of meaning created by the different actantial roles played by the narrator, Humbert Humbert, in the novel and the strategies used in the filmic discourses to create the same effects in certain sequences in order to honor the original work or, on the contrary, to create different effects in order to revise it in some aspects, adapting it to their target audience, which was different from the one which had only had contact with the book because they lived in a different time and had expectations of how the movies would treat controversial subject matters that had been raised in the novel. / Esta dissertação analisará a relação entre o romance Lolita (1955), de Vladimir Nabokov, e as adaptações fílmicas, de Stanley Kubrick, de 1962, e de Adrian Lyne, de 1997. Tendo por base a teoria da semiótica de linha francesa, também conhecida como semiótica greimasiana, para tratar dos efeitos de sentido gerados pelos diferentes papéis actanciais que o narrador Humbert Humbert assume no romance e das estratégias utilizadas no discurso fílmico a fim de criar os mesmos efeitos e reverenciar a obra de base em determinadas sequências ou, pelo contrário, com o objetivo de criar efeitos diferentes como forma de revisar o texto de origem em alguns aspectos, adequando-o ao público-alvo da produção fílmica, cujo perfil é diferente devido à época em que viveram e às expectativas que tinham a respeito do modo como os filmes tratariam o tema polêmico do romance.

Cette recherche porte sur le langage cinématographique (ou mode de représentation) adopté par Mizoguchi en contraste avec le style classique hollywoodien. Notre hypothèse est que le refus de Mizoguchi de recourir au découpage classique et au gros-plan procurerait au spectateur une expérience de perception qui tendrait à se rapprocher de celle vécue par un spectateur de théâtre ou le témoin d’une action se déroulant dans notre monde physique. Mizoguchi a débuté son métier au début des années 1920. Le cinéma japonais venait tout juste de prendre la voie d’un art nouveau en quittant son statut de simple captation de spectacles théâtraux. L’industrie cinématographique japonaise était alors en incubation marquée par diverses influences occidentales. Nous nous pencherons plus particulièrement sur les questions stylistiques à partir du moment où le cinéma japonais s’engageait dans le parlant en imitant le style classique hollywoodien. Ce cinéma dominant devenait une norme que Mizoguchi décida de ne pas suivre pour préférer un style caractérisé par des plans-séquences. Ce style plus « neutre » et «objectif » allait être encensé par Bazin après la guerre au moment où ce dernier découvrit notamment Welles et Wyler. À partir de plusieurs extraits filmiques, nous analysons le plan-séquence mizoguchien comme substitution à une série de plans rapprochés qui se serait imposé normalement avec le style classique hollywoodien. Et ce, afin de discuter des enjeux de réalisme et de théâtralité soulevés par Bazin. / This research focuses on the film language (or mode of representation) chosen by Mizoguchi in contrast to the Hollywood classical style. Our hypothesis is that Mizoguchi’s refusal to resort to traditional cutting and close-up would give the viewer an experience of perception that would tend to be get closer to the one experienced by a stage audience or viewers witnessing an action taking place in our physical world. Mizoguchi made his entry into the profession in the early 20s. At that time, Japanese cinema just recently became a new art by leaving its status of a mere capture of theatrical performances. The Japanese film industry was being incubated with various Western influences. We will focus specifically on stylistic issues from the moment the Japanese cinema engages in talkies by imitating the Hollywood classical style. This dominant style became a standard practice which Mizoguchi decided not to follow to prefer sequence-shots. The long takes style was to be later praised by Bazin for its neutrality and objectivity when he discovered Welles and Wyler after the Second World War. Through analysis of film excerpts, we compare Mizoguchi’s sequence-shots with cutting that would usually take place with the Hollywood classical style. This is to discuss the issues of realism and theatrics raised by Bazin.

Cette recherche porte sur le langage cinématographique (ou mode de représentation) adopté par Mizoguchi en contraste avec le style classique hollywoodien. Notre hypothèse est que le refus de Mizoguchi de recourir au découpage classique et au gros-plan procurerait au spectateur une expérience de perception qui tendrait à se rapprocher de celle vécue par un spectateur de théâtre ou le témoin d’une action se déroulant dans notre monde physique. Mizoguchi a débuté son métier au début des années 1920. Le cinéma japonais venait tout juste de prendre la voie d’un art nouveau en quittant son statut de simple captation de spectacles théâtraux. L’industrie cinématographique japonaise était alors en incubation marquée par diverses influences occidentales. Nous nous pencherons plus particulièrement sur les questions stylistiques à partir du moment où le cinéma japonais s’engageait dans le parlant en imitant le style classique hollywoodien. Ce cinéma dominant devenait une norme que Mizoguchi décida de ne pas suivre pour préférer un style caractérisé par des plans-séquences. Ce style plus « neutre » et «objectif » allait être encensé par Bazin après la guerre au moment où ce dernier découvrit notamment Welles et Wyler. À partir de plusieurs extraits filmiques, nous analysons le plan-séquence mizoguchien comme substitution à une série de plans rapprochés qui se serait imposé normalement avec le style classique hollywoodien. Et ce, afin de discuter des enjeux de réalisme et de théâtralité soulevés par Bazin. / This research focuses on the film language (or mode of representation) chosen by Mizoguchi in contrast to the Hollywood classical style. Our hypothesis is that Mizoguchi’s refusal to resort to traditional cutting and close-up would give the viewer an experience of perception that would tend to be get closer to the one experienced by a stage audience or viewers witnessing an action taking place in our physical world. Mizoguchi made his entry into the profession in the early 20s. At that time, Japanese cinema just recently became a new art by leaving its status of a mere capture of theatrical performances. The Japanese film industry was being incubated with various Western influences. We will focus specifically on stylistic issues from the moment the Japanese cinema engages in talkies by imitating the Hollywood classical style. This dominant style became a standard practice which Mizoguchi decided not to follow to prefer sequence-shots. The long takes style was to be later praised by Bazin for its neutrality and objectivity when he discovered Welles and Wyler after the Second World War. Through analysis of film excerpts, we compare Mizoguchi’s sequence-shots with cutting that would usually take place with the Hollywood classical style. This is to discuss the issues of realism and theatrics raised by Bazin.