Made available in DSpace on 2016-04-27T17:27:03Z (GMT). No. of bitstreams: 1 Roberta Filgueiras Mathias.pdf: 699347 bytes, checksum: 6fe70c790b08a190f2db87e2125d6210 (MD5) Previous issue date: 2012-11-30 / The idea of this study is to analyze the work of Andrei Tarkovsky, a Russian filmmaker, especially the films Stalker and Mirror as from deleuzian categories, focusing on the perception of time presented in the books Space- Image and Time-Image. We intend to propose a direct relationship between the concept of crystal-image developed in Time-Image and Tarkovsky` s filmography, based on the understanding of the images as crystals reels, which rotate around its own axis, but beyond this rotation have a force that`s the time itself / Resumo A ideia desse estudo é analisar a obra do cineasta russo Andrei Tarkovski, principalmente os filmes Stalker e o Espelho a partir de categorias deleuzianas sobre o cinema, tendo como foco a percepção de tempo cinematográfica presente nos livros Imagem movimento e Imagem tempo. Pretendemos propor uma relação direta entre o conceito de imagem-cristal presente no livro Imagem-tempo e o cinema de Tarkovski, a partir da compreensão das imagens dos filmes citados como cristais cambaleantes , que giram através de um eixo, mas escapam dessa rotação na força que é o tempo

As the American superhero films continue to increase their popularity around the globe, and because of the reccurent criticism against their poor and stereotypical representation, this essay aims to analyse the two newly made productions Man of Steel and Wonder Woman from a gender perspective. The essay argues a difference in Superman and Wonder Woman’s superhero images and further discussess the opportunities as well as potential problems the superhero narratives can offer to discuss gender in the EFL classroom.

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Excerpt: Towards the end of Ethan and Joel Coen's Academy-Award winning No Country for Old Men (2007), Carla Jean Moss's life depends on the toss of a coin. Heads or tails will decide whether she lives or dies.

Excerpt: The mountain man of American folklore and history is a man between cultures. Like Janus, the doorkeeper god of the Romans, he is bifrontal, looking back at European, white civilization, and forward toward Indian civilization and culture.

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Excerpt: A generally accurate appraisal of Western films might claim that Indians as hostiles are grouped into one undifferentiated mass. Popular hostile groups include the Sioux (without much differentiation between tribes or bands, the Apaches, and the Comanches).

abstract: By focusing on photojournalists for LIFE and Ladies’ Home Journal, I investigate mental health care in state institutions located in America during the Great Depression and World War II immediately prior to the great deinstitutionalization that began in the 1950s. Relying upon scholars of medical humanities, social theory, disability studies, feminist studies, the history of psychiatry, and the history of art, I consider the iconography used to represent mental illness in photography during the first half of the twentieth century to explore the ways mentally ill individuals were presented as disordered and lacking humanity. I explore the didactic nature of both photography and film, emphasizing how the artists and directors imbued their mediums with medical credibility and authority. The photographs of Alfred Eisenstaedt, Jerry Cooke, and Esther Bubley from the 1930-40s reveal the state of mental health care in America during the Great Depression and World War II. I will investigate the stereotypes seen in representations of mental illness in photographs and how these depictions shaped and were in dialogue with popular films like Spellbound (1945), The Snake Pit (1948), The Three Faces of Eve (1957), and Marnie (1964). As a point of contrast to the images and films representing mental illness, I examine depictions of healthy people in mental health clinics during this time. Finally, I offer four examples of public, contemporary art, including House for a Gordian Knot (2013), Bloom (2013), 1000 Shadows (2013), and Faces of Mental Health Recovery (2013), that explore mental illness to illustrate the enduring legacy of the iconography and stereotypes represented in the photography and films explored in the first half of this dissertation. / Dissertation/Thesis / Doctoral Dissertation Art History 2019