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The politique des auteurs was, from the period 1968 through 1973, the dominant methodology in cinematic criticism. It was tentatively formulated by Francois Truffaut in 1954 and greatly expanded upon by Andrew Sarris in 1962. Briefly, the “auteur theory” (as it is known in English speaking countries.) contends that aesthetically important films are the product of an auteur--an equivalent term to author in a work of literature or composer as opposed to conductor in a musical composition--and that that auteur is usually the film’s director. The quality of the film under scrutiny is directly related to the ability of that auteur to express his personality on film, his technical expertise, the relation of the film to the auteur's entire oeuvre, and to the tensions between the artist's accomplishments and the circumstances under which he had to work. This thesis is an exploration into and an assessment of the successes and failures of the “auteur theory” as employed by Sarris and those who were influenced by his thought. It concludes with the author's speculation about the future of auteurism as it relates to new cinematic methodologies (specifically genre criticism and structuralism) which are becoming more and more common.

Social Science scholars study how the New Left - the wave of leftist governments in Latin America since 1999 - redefines leftism in the Post-Cold War. Part of this redefinition is a new social pact between the Queer community and those Latin American governments. Chapter 1 traces the ideological itinerary of this new social agreement and establishes the methodology of the study. El lobo, el bosque y el hombre nuevo (The Wolf, the Forest and the New Man) by Senel Paz reformulated the relationship between the dissident subjects of the patriarchy and the leftist state in Cuban society of the 1990s. Chapter 2 highlights Paz's text for its separation from the Cold War narratives centered on the leftist armed insurgent movements. Chapter 3 studies how the film adaptation of Paz's work globalized the argument and structured it within the Post-Cold War. Chapter 4 analyzes the theatrical adaptations of Paz's work made in Latin American countries after 1999. Two are compared from countries with New Latin American Leftist governments, Venezuela and Argentina, with others made in non-Latin American countries, the United States and Spain. The critical reception of the two theatrical adaptations done in Latin America showed the argument as part of their reality, in contrast to the representations made in the United States and Spain. Chapter 5 analyzes the repercussions of Paz's text in popular culture through the reggaeton "Fresa y chocolate."

This project chronicles an in-depth character study on the Manic Pixie Dream Girl trope in film. The term was coined in 2007 by a film critic about a very specific kind of female character—one who exists “solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.” The MPDG has often been written off as nothing more than a stereotype or sexist characterization of a woman, but I argue that the MPDG can be much more than a flat character, as evidenced by the increasingly complex characterization of the MPDG in independent film. Based on case studies of several films, I discuss how the MPDG has grown from a supporting archetype into a well-rounded and multi-dimensional character. Based on a history of female depiction in film, a discussion of the critical interpretations of the MPDG, and these case studies, I argue that the MPDG has the potential to exist as a complex and realistic character rather than just an archetype.

In this paper, I will detail the process that went into the making of my thesis film, Out of True. The areas I will cover include Writing, Directing, Production Design, Cinematography, Editing, Sound, as well as Technology and Workflow. Special emphasis will be given to Directing and the new directing style I experimented with in an effort to create not only believable but engaging performances. I will then assess the success of this experiment through the use of audience questionnaires.

O objetivo deste trabalho é estudar o cenário de composição e produção de trilhas musicais no cinema brasileiro desde o período chamado de Retomada até a atualidade, analisando como as transformações tecnológicas na produção musical e cinematográfica, as renovações no elenco de profissionais e artistas do cinema e do mercado fonográfico, o restabelecimento de uma produção cinematográfica baseada nas leis de incentivo criadas na década de 1990 e outras contingências colaboraram para a solidificação de novos modelos de produção de trilhas musicais originais na contemporaneidade. O momento atual do mercado cinematográfico brasileiro é marcado por significativas reconfigurações nas cadeias de produção, com predominância de modelos organizacionais que se caracterizam pela produção \"projeto por projeto\", dentro dos quais é comum haver um enxugamento da estrutura profissional e logística. Os compositores musicais são caso a se destacar nesse cenário, pois seu perfil contemporâneo difere-se bastante da figura tradicional, que costumava se tratar de um músico alinhado às práticas da música de concerto, com o trabalho voltado para a escrita na partitura e a ausência de relação direta com o aparato técnico de gravação e edição analógicas. Os compositores e produtores musicais de hoje, por conta dos avanços tecnológicos nas ferramentas digitais de áudio, do barateamento de equipamentos e das transformações no mercado cinematográfico, fonográfico e publicitário, caracterizam-se em geral por criarem suas músicas já no ambiente de produção digital, comumente aliando composição, gravação, execução, edição, mixagem e sincronização com a imagem no mesmo processo; são em sua maioria donos de seus próprios estúdios de gravação ou empresas produtoras de áudio e são bastante autossuficientes, centralizando no próprio trabalho muitas das tarefas que antes requeriam um número maior de profissionais, bem como estruturas mais complexas de produção, muitas vezes inviáveis na realidade cinematográfica anterior do país. / This research aims at studying the setting of composition and production of musical scores for the Brazilian cinema since the period called as Retomada until nowadays, by analyzing how the technological transformations in music and film production, the renovations in the cast of professionals and artists involved in movies and in the music market, the reinstatement of movie production based on financial incentive laws created on the 1990s and other contingencies have collaborated to solidify new models of film scores production in the contemporary years. The present moment of Brazilian cinematographic market is marked by meaningful reconfigurations in the production chains, with the predominance of organization models characterized by the \"project by project\" productions, in which is common a reduction of the professional and logistic structure. Music composers are to be distinguished in this setting, for their contemporary profile is very different than the traditional figures, who used to be musicians aligned to the classical music practices, with works based in musical notation and without much direct relationship with the technical apparatus of analog recording and editing. Music composers and producers nowadays, because of the technological advances in digital audio tools, the lower costs of the equipment and the transformations in the movies, music and publicity markets, are characterized, in general, for creating their music in digital production environment, commonly allying composition, recording, execution, editing, mixing and synchronization with the image in the same process. They are, mostly, owners of their recording studios or audio producing companies and are very self-sufficient, concentrating in their own work a lot of tasks that would require a greater number of professionals and a more complex structure of production before, which were impracticable many times in the earlier cinematographic reality of the country.