This paper is an examination of the production of the thesis film The Confessional. Each of the key areas of the production are examined, including the writing, directing, production design, cinematography, editing, sound, and technology. In each of these areas, many choices came together to form the final version of the film. The paper also includes an analysis of the success of these decisions, based on research and audience feedback.

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Esta pesquisa pretende examinar as articulações e tensões entre o narrativo e o sensorial no cinema, trazendo como fio condutor, entre as convenções do narrativo e a imediaticidade do sensorial, o personagem cinematográfico. Entendemos que, sem abandonar as condições narrativas e representacionais que o produzem e definem (personagem-pessoa), o personagem de cinema é também um importante catalisador de afetos que agenciam memória e imaginação (personagem-figura) e, de modo mais substancial, um efeito produzido a partir de elementos concretos que se manifestam em termos de performatividade e de plasticidade (personagem-presença). Dessa forma, investindo numa reformulação da noção de personagem como \"efeito de personagem\" e explorando disjunções possíveis entre corpo, ator e personagem (sobretudo em filmes nos quais vários atores desempenham o mesmo papel ou, ao contrário, um mesmo ator desempenha diversos papéis), buscaremos fazer do personagem um instrumento privilegiado para a análise da complementariedade e dos eventuais atritos entre as dimensões narrativa (significação/interpretação), figural (sensação) e material (percepção) do cinema. / This research intends to investigate the tensions and articulations between the narrative and the sensorial in the cinema, having the film character as a guiding thread caught amongst the conventions of the narrative and the immediacy of the sensorial. We will argue that the film character is not only defined and conditioned by its narrative and representational implications (character-person), it is also an important catalyst of affects that stimulate our memory and imagination (characterfigure), and more substantially, an effect generated by concrete elements that often manifest themselves in terms of performativity and plasticity (character-presence). By reformulating the notion of character as \"character effect\" and exploring possible disjunctions between body, actor, and character (especially in films in which several actors play the same role, or on the contrary, the same actor plays several roles), we will advance the character as a privileged instrument for the analysis of the frictions and the complementarity of the narrative (signification/interpretation), the figural (sensation), and the material (perception) dimensions of the cinema.

This thesis report traces in detail all the phases of the short film Bye-Bye Blackbird, from its concept idea to its final completion. This report, along with the finished film, fulfills the Thesis requirements for the Master of Fine Arts degree in the Department of Radio-TV-Film at the University of Texas at Austin. / text

The aim of this work is to describe history of audio-visual technology and to analyse the influence of digitalization. The text describes the history of cinematography, television and also the introduction of audio-visual technology to people's homes. It contains information on present situation as well as new trends and the influence of the Internet on audio-visual making. There is a comparison of past and present technologies. The new technologies are accessible even for amateur creators which helps them to open new possibilities. This work is also focused on the influence of audio-visual technologies on the final look of the film. In practical part of this paper, author recommends specific technology suitable for certain target groups accordingly to their budget.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-04-20T19:19:38Z No. of bitstreams: 1 Josiane Peres Soares de Oliveira.pdf: 1053171 bytes, checksum: ceb2ccaf1f6c27e109ce1aa9f084ec04 (MD5) / Made available in DSpace on 2018-04-20T19:19:38Z (GMT). No. of bitstreams: 1 Josiane Peres Soares de Oliveira.pdf: 1053171 bytes, checksum: ceb2ccaf1f6c27e109ce1aa9f084ec04 (MD5) Previous issue date: 2018-03-07 / This paper focuses on literary and cinematographic languages, taking as its object the novel, Epopeia dos Sertões, by William Agel de Mello and Deus e o Diabo na Terra do Sol, by Glauber Rocha, works that dialogue, from a thematic point of view , aesthetic and imaginary, considering the ways of construction of contemporary art. Considering the importance of comparative approaches to literary criticism and interarting studies, this form of interpretive analysis is applied in the bases of this study, in an effort to grasp the power of narrative and discourse both in romanesque scenes and in filmic images , highlighting and comparing excerpts from the novel by William Agel de Mello and the film by Glauber Rocha. It is worth noting that in the first moment we dealt with the possible dialogues between literature and cinema, comparing the frontiers of narrative discourse with those of cinematic discourse, emphasizing their identity traits in order to access their differences and approximations, the focus of our analysis rests on the images and scenes, starting from a more open and general view, as to the narrative modes of romance and film, in order finally to proceed to the appreciation, the more restricted plans, punctuating metaphors and allegories in the compositional spectrum of the two in order to reach its significant structures in this way and, with this, to offer subsidies for other works that aim at peering at the senses and sensitivities contained therein. / Esse trabalho centra-se nas linguagens, literária e cinematográfica, tomando como objeto o romance, Epopeia dos Sertões, de William Agel de Mello e Deus e o Diabo na Terra do Sol, de Glauber Rocha, obras que dialogam, do ponto de vista temático, estético e imagético, considerando os modos de construção da arte contemporânea. Tendo em vista a importância das abordagens comparativistas para a crítica literária e para os estudos interartísticos essa forma de análise interpretativa é aplicada nas bases deste estudo, num esforço para se apreender o poder da narrativa e do discurso, tanto nas cenas romanescas como nas imagens fílmicas, destacando e comparando excertos do romance de William Agel de Mello e do filme de Glauber Rocha. Destaca-se que, no primeiro momento, ocupamo-nos dos diálogos possíveis entre a literatura e cinema, cotejando as fronteiras do discurso narrativo com as do discurso cinematográfico, enfatizando os seus traços identitários para acessar as suas diferenças e aproximações e, em sequência, o foco de nossa análise recai sobre as imagens e cenas, partindo de uma visão mais aberta e geral, quanto aos modos narrativos romanesco e fílmico para, finalmente, procedermos à apreciação, os planos mais restritos, pontuando metáforas e alegorias no espectro composicional dos dois textos em pauta, no intuito de alcançar por esta via suas estruturas significativas e, com isso, oferecer subsídios para outros trabalhos que objetivem perscrutar os sentidos e sensibilidades aí contidos.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present paper is a research based on the experience with an experienced investigative group made up of five teachers in initial training of the Bachelor's Degree in Visual Arts in Federal University of Santa Maria / RS / Brazil. Understanding the film narratives as devices capable of producing emotions, awake and arouse desires, provoke assemblages and participate in the construction of our subjectivity, we released a series of propositions, organized in the form of meetings, in order to discuss and understand the presence/permanence of these filmic narratives in the production of life narratives of teachers who cooperated with the research. The research was based on the concept of bricolage to develop methodological issues concerning this study and used it to think of themselves as bricoleurs subjects, able to compose from fragments, clippings and overlapping of images and information everyday. The authors participating in this fabric are theoretical: MARTINS (2007, 2008, 2009), Hernández (2005, 2007, 2009), Oliveira (2009); LARROSA (2002, 2004, 2006); ROLNIK (2006), among others who have their speeches reviewed in this research. Thus, seeking how to perform such procedures, we could notice that the film narratives participate in the life of these employees eventually trigger choices, preferences, perceptions and world views, reverberating in ways that each of these employees are teachers as teachers of visual arts. / A presente pesquisa configura-se a partir da experiência investigativa vivenciada com um grupo integrado por cinco professores em formação inicial do curso de Licenciatura em Artes Visuais, da Universidade Federal de Santa Maria/RS/Brasil. Compreendendo as narrativas fílmicas como dispositivos, capazes de produzir afetos, despertar e suscitar desejos, provocar agenciamentos e participar da construção de nossa subjetividade, foram lançadas uma série de proposições, organizadas sob a forma de encontros, no intuito de problematizar e perceber a presença/permanência destas narrativas fílmicas na produção das narrativas de vida dos professores que se dispuseram a colaborar com a pesquisa. A investigação apoiou-se no conceito de bricolagem para desenvolver as questões metodológicas concernentes a este estudo, bem como utilizou-o para pensar os próprios sujeitos enquanto bricoleurs, capazes de compor a partir de fragmentos, recortes e sobreposições de imagens e elementos cotidianos. Os autores que participam desta tessitura teórica são: MARTINS (2007, 2008, 2009); HERNÁNDEZ (2005; 2007; 2009); OLIVEIRA (2009); LARROSA (2002; 2004; 2006); ROLNIK (2006), dentre outros que agregaram as conversações desta pesquisa. Destarte ao buscar conhecer como se realizavam tais processos, foi possível descobrir que as narrativas fílmicas ao participar da vida destes colaboradores acabam por deflagrar escolhas, preferências, percepções e visões de mundo, reverberando nos modos com que cada um destes professores colaboradores constituem-se como docentes do campo das artes visuais.

Made available in DSpace on 2015-09-25T12:19:44Z (GMT). No. of bitstreams: 1 Carlos Roberto da Silva Santos.pdf: 2049858 bytes, checksum: f2cb1e56ea74afa27d1506f54229c589 (MD5) Previous issue date: 2011-12-19 / This study aimed at comparing the role of the narrator in the novel Estorvo (1991) by Chico Buarque and Ruy Guerra is movie (2000) with of the same title. It is makes use of theories involving the structure of the literary and cinematic narrative. The narrator's literary and film is perceived as the role of the narrator is exercised in literature and film and how its passage to the language of film is altered according to the behavior of the agent of the narrative. The narrator and his role are outstanding issues from the beginning of the twentieth century. Its theirs behavior in the telling of the tale is revealed by the characteristics of the characters that are unfolded through the agent of the narrative. Wayne Booth (1983) in Rhetoric of fiction also takes into account non-formal elements in their interdependence with the formal. We analyzed original notions serch as the implied author, and unreliablity and the distance of fiction. Booth also examined how the argumentative structures of the text were significant to the reader. The various functions and roles of the narrator are in Booth of primary importance because it is the consciousness that the narrator has, there is adaptation in perspective and the meaning of the narrated. To this end the fundamentals of Genette (1976), the aforementioned Booth (1983), Chatman (1990), Stam (2008), Bouillon (2009) and Friedman (1985), among many other critics and theorists of literary narrative and cinematic are relevant to this work. / A presente pesquisa objetivou analisar comparativamente o papel do narrador no romance Estorvo (1991), de Chico Buarque, e o filme de Ruy Guerra (2000), com o mesmo título. Foi feita à luz de teorias que envolvem a estrutura da narrativa literária e cinematográfica, e do narrador literário e cinematográfico pelos quais se percebe como o papel do narrador é exercido na literatura e no cinema, e que, mediante a passagem para a linguagem cinematográfica, o referido papel sofre alterações de acordo com o comportamento do agente da narrativa. O narrador e seu papel são assuntos de destaque desde o início do século XX. O seu comportamento ao contar história é revelado pelas características dos personagens que são descortinados através do agente da narrativa. Wayne Booth (1983), em Retórica da ficção, leva em conta também alguns elementos não-formais, em sua interdependência com os formais. Analisaram-se as noções originais, como o autor implícito e o não confiável, e a distância de ficção, sendo que Booth examinou a forma como as estruturas argumentativas do texto foram significativas para o leitor. As diversas funções e papéis do narrador são em Booth de importância primária, pois é na consciência que o narrador tem que há adaptação na uperspectiva e no significado do narrado. Para tal fim, fundamentamo-nos em Genette (1976), no já citado Booth (1983), Chatman (1990), Stam (2008), Bulhões (2009) e Friedman (1985), além de muitos outros críticos e teóricos da narrativa literária e cinematográfica.

Made available in DSpace on 2016-03-22T17:27:14Z (GMT). No. of bitstreams: 1 regina zauk.pdf: 844467 bytes, checksum: 71615bf2938e821dea0c10753d990978 (MD5) Previous issue date: 2013-12-12 / This work is characterized as a dialogical analysis of the architectonics of the movie Amores Perros (Iñarritu, Mexico, 2000). It takes Bakhtin s dialogical theory as it basis, more specifically the concepts of architectonics and authorship (which implies those of chronotope and exotopy, as well as some proposals of authors from Film Theory, especially Robert Stam. Having a practical character, it aims to examine in which way the movie is architectonically organized for senses creation based on the articulation of different chronotopical perspectives. We discuss how the cinematographic work in analysis works with time, as well as the way this reveals the specificity of the authorial project, in order to show in which aspects this work of Iñárritu is emblematic regarding the possibility of creating simultaneity amid a chronological scenes succession. The work resorts to the concept of spheres-worlds, which refers to the ambience in which live the characters, spheres that join in terms of what we call a shattered mirror . As for the adopted proceedings, we describe the characters and their relationships and existences, considering more carefully three insertions of the same accident, vital for the narrative, and we evaluate the points of view of key characters regarding the accident, aiming at revealing the dynamics of architectonics concerning the enunciatively project of the author and the production of senses in the studied film narrative / Este trabalho caracteriza-se como uma análise dialógica da arquitetônica do filme Amores Perros (Iñarritu, México, 2000). Tem como referencial a teoria dialógica de Mikhail Bakhtin, mais especificamente os conceitos de arquitetônica e autoria (que envolvem o cronotopo e a exotopia), bem como o de teóricos de Teoria de Cinema, notadamente, Robert Stam. De caráter prático, busca examinar de que maneira se organiza arquitetonicamente o filme na criação de sentidos, a partir da articulação de diferentes perspectivas cronotópicas. Problematizamos a maneira como a obra cinematográfica, em análise, lida com o tempo, assim como a maneira como isso revela a especificidade do projeto autoral, a fim de demonstrar em que aspectos essa obra de Iñárritu é emblemática em relação à possibilidade de criar simultaneidade em meio a uma sucessão cronológica de cenas. O trabalho recorre ao conceito de esferas-mundo que remete às ambiências em que vivem as personagens, esferas que se integram nos termos do que denominamos espelho estilhaçado . Quanto aos procedimentos adotados, são descritas as personagens e suas relações e vivências, considerando, mais detidamente, as três inserções de um mesmo acidente, vital para a narrativa, e avaliamos os pontos de vista de personagens-chave quando do acidente, buscando verificar as dinâmicas da arquitetônica quanto ao projeto enunciativo do autor e à produção de sentidos na narrativa fílmica em questão

本研究目的是從電影敘事和互文理論的角度去了解台灣電影預告片的風格模式為何？以好萊塢電影預告片為參照點，了解台灣電影預告片操作什麼元素來吸引觀眾？與好萊塢電影預告片有何差異？更重要的是透過研究者對台灣電影預告片剪接師的訪談資料，了解台灣電影預告片的產製環境和流程，完整了解台灣電影預告的生成，並試圖發現可能有的台灣電影預告片模式。 　　本研究以2000年至2010年國片票房前十名為研究樣本，首先依據製作規模與資金來源等將十部影片分成三類，並依據好萊塢電影預告片模式特徵，將文本分成敘事、視覺文本、聽覺文本、明星等四元素，分析三類別的預告特徵。 　　研究結果發現，不同的製作規模會影響台灣電影預告片風格，有國際資金與國際團隊規模製作的準好萊塢電影預告片，模式特徵與好萊塢電影預告片相似，重場面、類型、明星等，強而有力的視覺呈現是其重點與賣點；有亞洲資金與兩岸三地團隊製作的類好萊塢電影預告片，預告片的剪接技巧特徵仿效好萊塢預告片的同時，將場面和明星的不足，轉移到以衝突和人物為中心，故事輪廓漸浮現。 　　只有本土資金和傳統台灣電影手工業製作條件的演化中的台式電影預告片，呈現出明顯不同的電影預告片特色，此類別以故事來包裝，從本土出發，放入象徵台灣的符號、語言，並且嘗試不同技法來填補場面、類型、明星的不足，像是電影主題曲、大量演員、字卡、各大影展獎項等，利用其他元素來強化影片豐富度，敘事與聽覺變成揮灑創意的文本，補足視覺文本的不足。 　　本研究預期藉由台灣電影預告片的文本分析和產製端的訪問，形塑出台灣電影預告片的風格，並且進一步找到適合台灣電影預告片發展模式，增加台灣電影預告片整體效益。 / The purpose of the study is to investigate styles of Taiwanese movie trailers from the film narrative and intertextual perspectives. First of all, we need to determine elements used in Taiwanese movie trailers and what differences these elements have in comparison with those in Hollywood movie trailers. Moreover, we have to understand conditions and processes of producing those trailers by interviewing trailer editors in Taiwan. By doing so, we will be able to categorize different types of Taiwanese movie trailers. Based on four major elements of Hollywood movie trailers, namely, narration, visual, audio and stars, the study finds that there are three types of trailers in Taiwan cinema: Quasi-Hollywood trailers, Hollywood-like trailers, and Taiwan local movie trailers. It is hoped that the study findings might help Taiwan cinema to maximize effects of its movie trailers.