Made available in DSpace on 2016-06-02T20:23:14Z (GMT). No. of bitstreams: 1 5137.pdf: 2072455 bytes, checksum: 8e282c598560da1ed973722c0211593c (MD5) Previous issue date: 2013-04-04 / Financiadora de Estudos e Projetos / This study's main objective is to map and analyze the activities of the Cineclube Universitário de Campinas [Campinas College Cine-Club], during the years of its existence, from 1965 to 1973. For this, the research approaches the trajectory of cine-clubs in Brazil since the Chaplin-Club until the emergence of the Cineclube Universitário de Campinas; reports and analyzes the exhibitions, debates and courses promoted by the cine-club; exposes and examines texts of the newspaper Cine Clube, published by the Cineclube Universitário de Campinas; describes how were produced its three short films, Um pedreiro, O artista and Dez jingles para Oswald de Andrade, analyzing them in relation to the influences received by contemporary cultural movements. The dissertation uses bibliography on cinema, especially those related to cine-clubs in Brazil, documents and copies of newspapers and movies of the Cineclube Universitário de Campinas, and testimonies of its members. As a result, we conclude that the Cineclube Universitário de Campinaswas an important contribution to Campinas cultural field during the 1960s. / O presente trabalho tem como objetivo principal mapear e analisar as atividades realizadas pelo Cineclube Universitário de Campinas (CCUC), durante os anos de sua existência, de 1965 a 1973. Para isso, a pesquisa aborda a trajetória do cineclubismo no Brasil, desde o Chaplin-Club até o surgimento do CCUC; relata e analisa as exibições, debates e cursos promovidos pelo cineclube; expõe e examina os textos do jornal Cine Clube, publicado pelo CCUC; descreve a maneira de produção de seus três curtas-metragens, Um pedreiro, O artista e Dez jingles para Oswald de Andrade, analisando-os com relação às influências recebidas por movimentos culturais contemporâneos a sua realização. A dissertação utiliza como base bibliografia sobre cinema, especialmente, a relacionada ao cineclubismo no Brasil, documentos e cópias dos jornais e filmes do Cineclube Universitário, além de depoimentos de seus integrantes. Como resultado, concluímos que o CCUC foi uma importante contribuição ao campo cultural campineiro na década de 1960.

CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho dissertativo emprega a obra de arte fílmica no centro do processo de análise histórica, problematizando-a na dimensionalidade que ela nos fornece enquanto objeto social e artístico. Logo, a problemática que permeia esse trabalho é a compreensão do filme Amarelo Manga como um produto artístico de um espaço sociocultural permeado de inclinações que lhe são próprias, o lugar espacial e temporal do cenário cultural pernambucano do século XX é a preocupação do primeiro capítulo deste trabalho, tendo por objetivo compreender o espaço de articulação do cineasta da obra em questão. A segunda preocupação é analisar esteticamente o filme, para tanto apoiamos num conceito próprio da área cinematográfica que é o processo de decupagem. No terceiro capítulo objetivamos observar a recepção da crítica cinematográfica do filme em questão, já que tal análise nos fornece indícios de como tal obra foi apreendida e absorvida num tempo e lugar. Além disso, nesse capítulo caminhamos no entendimento das dimensionalidades sociais e históricas contidas na narrativa fílmica, tendo por eixo de observação a apreensão da realidade e da historicidade que lhe é latente. Para tanto, utilizamos um aporte teórico-metodológico que nos fornece embasamento e contundência nas noções expressas nas páginas que se sucedem. Tendo por caminho as reflexões de Ismail Xavier, Marcel Martin, Noël Burch, Raymond Williams, Karl Marx e demais teóricos que foram suscitados. / This dissertative work employs the work of filmic art at the center of the process of historical analysis, problematizing it in the dimensionality that it provides us as a social and artistic object. Therefore, the problem that permeates this work is the understanding of the Amarelo Manga film as an artistic product of a sociocultural space permeated by its own inclinations, the space and time of the cultural scene of Pernambuco in the twentieth century is the concern of the first chapter of this work, aiming to understand the space of articulation of the filmmaker of the work in question. The second concern is to aesthetically analyze the film, so we support a concept of the cinematographic area that is the process of decupage. In the third chapter we aim to observe the reception of the cinematographic critique of the film in question, since this analysis gives us indications of how such work was seized and absorbed in a time and place. Moreover, in this chapter we walk in the understanding of the social and historical dimensionalities contained in the film narrative, having as axis of observation the apprehension of reality and the latent historicity. To do so, we use a theoretical-methodological contribution that provides us grounding and strength in the notions expressed in the succeeding pages. Having in the way the reflections of Ismail Xavier, Marcel Martin, Noël Burch, Raymond Williams, Karl Marx and other theorists that were raised. / Dissertação (Mestrado)

Orientador: Ines Signorini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-13T12:40:47Z (GMT). No. of bitstreams: 1 Miguel_FernandaValimCortes_M.pdf: 2964874 bytes, checksum: 55f7cb3c445941346602419aa191b7cd (MD5) Previous issue date: 2009 / Resumo: Nesta dissertação de mestrado, investigamos a prática situada de crítica cinematográfica a partir da problematização dos modos como integrantes da comunidade especializada de críticos de cinema concebem o papel da atividade midiático-jornalística na constituição de suas próprias produções escritas. Tal problematização é feita com base em textualizações de entrevistas realizadas com integrantes desta comunidade, bem como com integrantes de uma comunidade de estudantes universitários. Outras fontes textuais, orais e escritas, em circulação na internet, também constituem a base documental da pesquisa. A análise desses documentos mostrou que os produtos culturais da prática situada de crítica cinematográfica - isto é, as críticas - nem sempre foram consensualmente vistos por nossos entrevistados como filiados ao gênero crítico cinematográfico. Este fato nos motivou a buscar compreender com base em quais critérios essas comunidades, especializadas ou não, justificariam a inclusão ou a exclusão de certas críticas do domínio do gênero 'crítica cinematográfica'. Partindo da perspectiva da teoria da atividade, pudemos encarar a própria crítica de cinema como uma prática social que poderia ser realizada por diferentes pessoas em diferentes contextos. Acreditamos que argumentar em favor da legitimidade deste deslocamento conceitual poderia contribuir para desafiar a visão de que existiria um único espaço social legítimo de produção de críticas cinematográficas / Abstract: In this master's thesis, we have investigated the situated practice of film criticism from the problematization of the ways in which members of the specialized film critics conceive the role of media-journalistic activity in the formation of their own written productions. This problematization is based on interviews with members of this community, as well as members of a community of university students. Other textual sources, both oral and written, in circulation on the Internet, also constitute the basis of documentary research. The analysis of these documents showed that the cultural products of the situated practice of film criticism - that is, the written critiques - were not always consensually seen by our interviewees as belonging to the genre 'film critique'. This fact led us to seek to understand which criteria these communities, specialized or not, used to undergird the inclusion or exclusion of certain critiques of the field in the genre 'film critique". From the perspective of the activity theory, we began to understand the 'film criticism' as a social practice that could be performed by different people in different contexts. We believe that arguing in favor of the legitimacy of this conceptual shift might help to challenge the view that there is only one legitimate social space for the production of film criticism / Mestrado / Lingua Materna / Mestre em Linguística Aplicada

The aim of this bachelor thesis was to examine how cultural art journalistic critique manifests on different digital platforms today. I chose to focus on film criticism as it not only tells a story about the movies but also about the society. The bachelor thesis also aims to examine if there are any differences in how amateurs and professional journalists frames film criticism and in extension the society. The research questions examined were:How are the reviews composition and content arranged? How does the reviews rhetoric get constructed? How do the writers approach appraisements in their texts and how do these get framed? Do the texts have an inclination towards the aesthetic or the journalistic paradigm? I used Hulténs mass media rhetoric analysis which is a form of qualitative media content analysis in order to find differences and similarities in the texts. By closely examining the reviews, I found that references to popular culture were of great significance in the field of journalistic film criticism. They do not only show the journalists habitus but also their position in the field and the fields doxa. The study shows that the amateurs often emulates and are inspired by the professional journalists. The amateurs also largely depend on the aesthetic paradigm whilst the professionals strives for an equiponderant relation to both paradigms. My conclusion is that the amateurs compose a heterodox rebellion towards the current doxa on the field and that the professionals reigns the field with their knowledge and their complex and critical portrayal of movies and the society.

No description available.

The thesis addresses analysis of stories and narrative in relation to the subject of gender. This analysis primarily deals with fairy tale The Beauty and the Beast by Disney. The first part is about general theoretical basis for my thesis and about the most important authors in this field. Archetypes and logocentrism topics are dealt with partially as well. The foundations of the first part are however literary and motion-picture feministic theories, also the concept of the myth of beauty. In the practical part sequences of the The Beast and the Beauty are studied. Findings described in theoretical part is utilized here and the marked and subtle influence of androcentric culture on style and content of the story is shown.

Cette thèse de doctorat se propose de mettre en lumière les liens étroits qui existent entre les imaginaires de la fantomalité, de la hantise et de la cinéphilie contemporaine. Elle cherche à montrer qu’il se développe, depuis le tournant du millénaire, une sous-catégorie de cinéma « à veine cinéphilique », à travers laquelle la figure, à la fois métaphorique et conceptuelle, du fantôme se révèle une instance productrice de discours sur la mémoire du cinéma. Nous cherchons à éclairer la spécificité de cette résurgence de présences fantomales – qui se traduit dans des œuvres cinématographiques, littéraires, critiques et théoriques – et à saisir, dans une perspective esthétique et philosophique, les modalités de hantise qu’elles mettent en scène. L’hypothèse principale de cette recherche s’appuie sur la certitude que cette résurgence de figures fantomales s’inscrit dans une époque instable, marquée par de nombreux bouleversements (politiques, esthétiques, culturels, technologiques), qui l’amène à cultiver une relation surconsciente à la mémoire et à l’amour du cinéma. Pour témoigner de cette tendance et des modalités esthétiques qui la définissent, nous introduisons les concepts de « cinéphilie hantée » et de « hantise cinéphilique ». La première partie de cette thèse analyse les temporalités anachroniques et les logiques cycliques à travers lesquelles les fantômes du cinéma réapparaissent ponctuellement, à l’aune des réflexions de Georges Didi-Huberman, Jacques Derrida, Paul Willemen et Christian Keathley. La deuxième partie s’attache au lieu « catalyseur » de la hantise médiatique : dans quels ancrages ou sites s’immiscent aujourd’hui les présences fantomales qui appellent à repenser la mémoire du cinéma ? Nous étudions quatre cas de figures : le corps de l’acteur Jean-Pierre Léaud, la pellicule filmique en proie à sa désintégration, la salle de cinéma et les variations technologiques contemporaines de la notion de « média hanté » (notamment l’algorithme et le message texte téléphonique). Enfin, dans la troisième et dernière partie de cette thèse, nous observons par quels moyens littéraires ou techniques se déploie cette poétique de « cinéphilie hantée » et quels discours critiques en ressortent. Les œuvres littéraires de Didier Blonde, Jacques Thorens, Nathalie Léger et Jean Paul Civeyrac nous permettent de définir ce qu’est une « écriture hantée » alors que des études portant, entre autres, sur les œuvres de Jean-Luc Godard, Sandi Tan, Frank Beauvais, Nobuhiro Suwa, Pierre Hébert et Guy Maddin nous montrent à quel point le langage cinématographique, dans ses effets formels et techniques, participe intimement de cette écriture de la hantise. En nous penchant sur les questions des temps, des lieux et des manières implicites ou explicites par lesquelles la cinéphilie contemporaine se révèle empreinte de fantomalité, nous cernons les ramifications de cette tendance du cinéma contemporain et en mesurons toute la pertinence. / The aim of this doctoral thesis is to shed light on the close ties between the imaginaries of ghostliness, hauntings and contemporary cinephilia. It seeks to demonstrate that, particularly since the turn of the millennium, a sub-category of cinema “with cinephilic inclinations” has been developing, through which the conceptual metaphor of the ghost reveals itself as a productive instance of discourse on the memory of cinema. Our aim is to elucidate the specificity of this resurgence of ghostly presences—reflected in cinematographic, literary, critical and theoretical works alike—and to grasp, from an aesthetic and philosophical perspective, the modalities of haunting that they stage. The main hypothesis of this research is based on the conviction that the resurgence of ghostly figures is rooted in an unstable era, marked by numerous upheavals (political, aesthetic, cultural, technological), which lead to cultivate an overconscious relationship to the memory and love of cinema. To further demonstrate this tendency and the aesthetic modalities that define it, we introduce in this thesis the “haunted cinephilia” and “cinephilic haunting” concepts. The first part of this thesis analyzes the anachronistic temporalities and cyclical logics through which the ghosts of cinema punctually reappear, in the light of reflections by Georges Didi-Huberman, Jacques Derrida, Paul Willemen and Christian Keathley. The second part focuses on the “catalyst” place of media hauntings: in which anchorages or sites do ghostly presences that call for a rethinking of the memory and love of cinema intrude today? Our research concentrates on four major points: the body of French actor Jean-Pierre Léaud, the disintegrating filmstrip, the movie theatre and the contemporary technological variations of the notion of “haunted media” (particularily the algorithm and the text message). Finally, in the last and third part of the thesis, we examine the literary and technical means by which the poetics of “haunted cinephilia” is deployed, and the critical discourses that emerge from it. We study the literary works of Didier Blonde, Jacques Thorens, Nathalie Léger and Jean Paul Civeyrac to define what constitutes “cinephilic haunted writing”. Studies of the works of Sandi Tan, Frank Beauvais, Jean-Luc Godard, Nobuhiro Suwa, Pierre Hébert and Guy Maddin (among others) also enable us to pinpoint how cinematic language, in its formal and technical effects, can contribute to the development of haunted writing. By examining questions of time, place and the implicit or explicit ways in which cinephilia reveals itself to be permeated with ghostliness, we identify the ramifications of this trend in contemporary cinema and recognize its full scope.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-28T13:16:57Z No. of bitstreams: 1 Glauber Ormundo Dias Martins.pdf: 415635 bytes, checksum: 63fa1de0d5b56e217bcf19dba75e8158 (MD5) / Made available in DSpace on 2018-06-28T13:16:57Z (GMT). No. of bitstreams: 1 Glauber Ormundo Dias Martins.pdf: 415635 bytes, checksum: 63fa1de0d5b56e217bcf19dba75e8158 (MD5) Previous issue date: 2018-04-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work analyzes two films by Woody Allen in the 1980s - Zelig and The Purple Rose of Cairo - using as methodologies sociological theories and literary and cinematographic critiques. With this, reflections od modernity and American history are analyzed / Este trabalho analisa dois filmes do diretor Woody Allen da década de 1980- Zelig e A rosa púrpura do Cairo- Usando como metodologias teorias sociológicas e de críticas literárias e cinematográficas. Com isto, reflexões a respeito da modernidade e da história americana são analisadas

This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

This essay deals with the idea of women as the ”the other sex” within the field of authorship, and aims to bring to together feminist, film and auteur theory with analysis of historic documentations of reception as well as context for academic treatments of Mai Zetterling as an auteur/director. This, in attempt to, through intertwined discussion, catch a glimpse of better understanding how gender specificity may have influenced and continue to influnce perceptions of auteurs of female gender and their works, yet keeping focus on the case of Mai Zetterling and hers in specific.