According to reviewers, bloggers, and scholars, Lars von Trier’s films, particularly Dancer in the Dark (2000) and Dogville (2003) tend to evoke multiple intense, often contradictory, emotional responses from viewers. The films’ dialectical effects can perhaps be explained by the fact that they broadcast their artifice, which results in a seeming break in the audience’s emotional immersion. The question that this thesis seeks to explore is how the films can simultaneously distance and engage viewers. Generic theories, as well as theories on emotion and film reception, are useful in exposing von Trier’s emotive strategies. In the end, it might be that von Trier endeavours to evoke emotions in viewers while also making us aware of his manipulations in order to suggest that as spectators we must constantly question the film and its creator. More troublingly, he implies that there might be something fundamentally perverse about our desire to watch films.

According to reviewers, bloggers, and scholars, Lars von Trier’s films, particularly Dancer in the Dark (2000) and Dogville (2003) tend to evoke multiple intense, often contradictory, emotional responses from viewers. The films’ dialectical effects can perhaps be explained by the fact that they broadcast their artifice, which results in a seeming break in the audience’s emotional immersion. The question that this thesis seeks to explore is how the films can simultaneously distance and engage viewers. Generic theories, as well as theories on emotion and film reception, are useful in exposing von Trier’s emotive strategies. In the end, it might be that von Trier endeavours to evoke emotions in viewers while also making us aware of his manipulations in order to suggest that as spectators we must constantly question the film and its creator. More troublingly, he implies that there might be something fundamentally perverse about our desire to watch films.

ABSTRACT REPRESENTATIONS OF SOCIAL CLASSES IN ARABESK FILMS Avci, &Ouml / zg&uuml / r M.S., Department of Political Science and Public Administration Supervisor: Assist. Prof. Dr. Necmi Erdogan August 2004, 248 pages This thesis is an attempt to analyze the narrative structure of arabesk films which were made in the 1970s and the 1980s. Based on the idea that it is the poor/rich dichotomy which is foregrounded as the primary paradigm in arabesk films, this study tries to show how socio-cultural hierarchies are encoded in these films and how their narrative structure motivates the audience to perceive the films from a class perspective. On the basis of a generic background regarding melodramatic texts as well as a historical background as regards how the Turkish melodramas developed in relation to the modernization process in Turkey, this thesis focuses on syntagmatic and paradigmatic structures of arabesk films and offers that these films are primarily, if not exclusively, nourished by and address to a class-based &lsquo / affect&rsquo / (hissiy&acirc / t).

The subject matter of mental illness has fascinated artists and writers for centuries. Filmmakers have responded in diverse and innovative ways to the artistic challenge of portraying mental illness. In this thesis, I focus on the representations of mental illness in six recent films from Australia and New Zealand: Sweetie (Jane Campion, 1989), An Angel at My Table (Campion, 1990), Bad Boy Bubby (Rolf de Heer, 1993), Heavenly Creatures (Peter Jackson, 1994), Angel Baby (Michael Rymer, 1995) and Shine (Scott Hicks, 1996). In each film, the protagonist is diagnosed, or treated by others, as mentally ill. Mental illness is portrayed as an affliction which the protagonist struggles to overcome. I argue that these films cultivate a relationship of empathy between the mentally ill character and the spectator. Whereas the related emotion of sympathy involves feeling sorry for someone, empathy involves feeling with that person; in other words, rather than feel for these mentally ill characters, we are invited to feel like they do. (For complete abstract open document)

This thesis illustrates how Melodrama and the melodramatic mode have been adapted within contemporary cinema as both a means of commenting on prior LGBTQI representation, and of exposing mainstream audiences to the issues still faced by many within this spectrum. Through my analyses of Carol (2015), Brokeback Mountain (2005), and A Single Man (2009), I examine how filmmakers have drawn on Melodrama as both an aesthetic form, and as a reference to the broader field of generic history and criticism which ground it as a subversive form of societal critique. By focusing specifically on how these three films portray ideological issues of gender, stereotyping, parenthood, aging, and personal shame, my thesis argues that these films are making a commentary on the damaging effects of these discourses on broader society. I also simultaneously question whether the Period Melodrama as a genre can ever fully escape the conservative nature of this form, as well as the implications of continuing to portray those on the LGBTQI spectrum as victims.

Esta tese tem como objetivo compreender de que modo o gênero melodrama – nas suas atualizações através da (tele)novela, do bumba-meu-boi e das práticas sócio-comunicativas familiares - se constitui numa matriz cultural para a identidade de uma família de classe popular. Trabalha-se com três gerações de uma família maranhense buscando identificar os usos, consumo e recepção de tele (novela), assim como outras práticas midiáticas e sócio-comunicativas através do tempo. A observação inicial do campo conduziu à hipótese de que o melodrama constitui matriz privilegiada para o entendimento da(s) identidade(s) familiar (es) em razão do intenso trânsito e intercâmbio de valores existentes na (tele) novela e em diversas expressões da cultura popular. Assim, discutem-se aspectos históricos e conceituais do melodrama e suas conexões com a telenovela e o bumba-meu-boi; discorre-se sobre diversas matrizes culturais do melodrama articuladas à produção e disseminadas por esses dois formatos narrativos; refletese o conceito de identidade a partir de diferentes perspectivas. No que concerne à questão metodológica, delinea-se um referencial que contempla tanto a reflexão teórica quanto a pesquisa metódica, de modo a optar pelo método da história oral a partir da técnica história de família. Para tanto foram realizadas entrevistas do tipo semiestruturada e entrevista em profundidade além do questionário e de observações etnográficas. Entre os principais resultados destacam-se: a família possui um repertório simbólico compartilhado, que se reconhece e se percebe também nos discursos midiáticos - de modo especial naqueles de matriz melodramática, entretanto, dispõe de outros saberes e de outras referências culturais não midiáticas para pensar e construir suas percepções de mundo e constituírem-se continuamente, desde diferentes gerações e a partir de identidades familiares. Tais identidades se caracterizam, sobretudo pelo sentimento de pertencimento quer da própria linhagem, quer da cidade ou do bairro em que vivenciam sua sociabilidade; e também pela forte relação entre a fé e o lúdico vivenciados nos modos de expressarem sua religiosidade e festividades. A investigação corrobora que as diversas aplicações do estudo dessa família permitem levantar hipóteses sobre outros fenômenos similares. / This thesis aims at understanding in what way the melodrama genre – in its updates through (tele)novela, the folk theatrical tradition bumba-meu-boi and the familiar socio-communicative practices – constitutes itself in a cultural matrix to the identity of a popular class family. We work with three generations of a family from Maranhão seeking to identify the uses, consumption and reception on tele (novela), as well as other socio-communicative and media practices throughout time. The primary observation of the field lead to the hypothesis that melodrama constitutes privileged matrix to the understanding of family(ies) identity (ies) because of the intense traffic and exchange of values that exist in tele (novela) and in a diversity of popular culture expressions. Therefore, we discuss historical and conceptual aspects of melodrama and its connections with telenovela and bumba-meu-boi; we debate about the various cultural matrixes of melodrama articulated to the production and disseminated by these two narrative formats; we reflect upon the concept of identity from different perspectives. In regard of the methodological issue, we outline a framework that contemplates both the theoretical reflection and the methodical research, choosing the method of oral history based on the technique of family history. For that, semi-structured and in-depth interviews were conducted, besides questionnaire and ethnographic observations. Among the main results, we point out: the family possesses a shared symbolic repertoire that recognizes and is aware of itself in media discourses – particularly in the ones of melodramatic matrix, however it has other knowledges and cultural references that don’t pertain to the media to reflect upon and build its perceptions of the world and continuously constitute itself, in different generations and based on family identities. Such identities are characterized, mainly, by the feeling of belonging to their own lineage, to a city or a neighborhood where they experience their sociability; and also by the strong relation between faith and ludic experienced in the ways their religiosity and festivities are expressed. The investigation corroborates that various applications of this family allows the bringing up of hypothesis concerning similar phenomena.

Submitted by Reginaldo Silva (reginocarvalho@hotmail.com) on 2014-09-12T13:54:22Z No. of bitstreams: 2 tese_reginaldo_carvalho_volume1_PDF_brasil.pdf: 6119392 bytes, checksum: b02e3972dc8041072463b0e08c850f30 (MD5) tese_reginaldo_carvalho_volume2_PDF_brasil.pdf: 47591865 bytes, checksum: 7873238c397069617b49cc12386fb3da (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2014-09-16T11:31:40Z (GMT) No. of bitstreams: 2 tese_reginaldo_carvalho_volume1_PDF_brasil.pdf: 6119392 bytes, checksum: b02e3972dc8041072463b0e08c850f30 (MD5) tese_reginaldo_carvalho_volume2_PDF_brasil.pdf: 47591865 bytes, checksum: 7873238c397069617b49cc12386fb3da (MD5) / Made available in DSpace on 2014-09-16T11:31:40Z (GMT). No. of bitstreams: 2 tese_reginaldo_carvalho_volume1_PDF_brasil.pdf: 6119392 bytes, checksum: b02e3972dc8041072463b0e08c850f30 (MD5) tese_reginaldo_carvalho_volume2_PDF_brasil.pdf: 47591865 bytes, checksum: 7873238c397069617b49cc12386fb3da (MD5) / PAC-UNEB e CAPES / Este trabalho discute o trânsito da teatralidade circense da França ao interior do Brasil tomando como referência a configuração do espetáculo circense moderno e a presença do teatro no Cirque Olympique entre os anos de 1807 e 1836. O teatro é tratado, por tanto, como um dos elementos da pluralidade do circo que chegou ao Brasil no século XIX. Para a compreensão desta circulação, faz -se uma caracterização do sistema de transportes no país, focando no debate sobre as estradas de ferro para apontar os impactos culturais da Bahia and São Francisco Railway e da Estrada de Ferro São Francisco no interior do estado da Bahia, na primeira metade do século XX e uma análise da vida cultural na “rede de cidades” baianas beneficiadas pelas ferrovias, especialmente as cid ades de Alagoinhas, Serrinha, Senhor do Bonfim e Juazeiro. Como exemplo desta circulação, discute -se o melodrama francês Les deux sergents, de D’Aubigny, cuja estreia da primeira montagem aconteceu no Théâtre de la Porte Saint-Martin em 1823. Traduzido para a língua portuguesa, foi montado por circos e companhias teatrais em várias cidades brasileiras, entre elas aquelas abarcadas por este estudo, caracterizando um triunfo da dramaturgia melodramática francesa no Brasil no decorrer de mais de um século. Tom ando como referência a pesquisa em História das Artes do Espetáculo, o trabalho é resultado de uma investigação bibliográfica em obras brasileiras e francesas sobre as relações entre circo e teatro nos séculos XVIII, XIX e XX bem como de uma análise documental de fontes encontradas no Fundo Léon Chancerel da Société d’Histoire du Théâtre, na Bibliothèque d’Arsenal ligada à BnF-Bibliothèque nationale de France, e no site Gallica-Bibliothèque nationale de France, em Paris, e nos arquivos da Fundação Iraci Gama – FIGAM, do Museu Pró-memória de Serrinha, do Memorial Senhor do Bonfim, e do Acervo Maria Franca Pires, localizados, respectivamente, nas cidades de Alagoinhas, Serrinha, Senhor do Bonfim e Juazeiro. / Cette thèse porte sur la circulation de la théâtralité du cirque, de la France aux régions intérieures du Brésil, en prenant comme référence la configuration du spectacle de cirque moderne et la présence du théâtre dans le Cirque Olympique de 1807 à 1836. Le théâtre y est considéré comme un des éléments de la pluralité du cirque qui arriva au Brésil au XIXe siècle. Pour comprendre la circulation de cette dramaturgie, l’étude se porte sur le système de transports du pays, en se focalisant sur les chemins de fer, afin de mesurer l’impact culturel du Bahia and São Francisco Railway et du Chemin de Fer São Francisco dans les régions intérieures de l’Etat de Bahia, pendant la première moitié du XXe siècle. Ce qui permet de réaliser une analyse de la vie culturelle de ce « réseau de villes » bénéficiaires des chemins de fer, en particulier les villes de Alagoinhas, Serrinha, Senhor do Bonfim et Juazeiro. A titre d’exemple de cette circulation, l’étude se concentre sur le mélodrame français Les deux sergents, de D’Aubigny, présenté pour la première fois au public au Théâtre de la Porte Saint-Martin en 1823. Traduit en portugais, il fut représenté par des cirques et des compagnies théâtrales, dans différentes villes du Brésil, dont celles étudiées ici, et illustre un vrai triomphe de la dramaturgie mélodramatique française au Brésil, pendant plus d’un siècle. Cette contribution à l’Histoire des Arts du Spectacle s’est appuyée sur une recherche bibliographique d’oeuvres brésiliennes et françaises portant sur les relations entre le cirque et le théâtre au cours des trois derniers siècles, ainsi que sur un travail d’archives dans les Fonds Léon Chancerel de la Société d’Histoire du Théâtre, à la Bibliothèque de l’Arsenal liée à la BnF-Bibliothèque nationale de France, et sur le site Gallica-Bibliothèque nationale de France, à Paris, ainsi que dans les archives de Fundação Iraci Gama – FIGAM, du Museu Pró-memória de Serrinha, du Memorial Senhor do Bonfim, et de l’Acervo Maria Franca Pires, situés respectivement dans les villes de Alagoinhas, Serrinha, Senhor do Bonfim et Juazeiro (Bahia, Brésil). / This paper discusses the transit of the circus-theatricality from France to the interior of Brazil with reference to the configuration of the modern circus show and the presence of the theatre at the Cirque Olympique between the years 1807 and 1836. The theatre is therefore treated as an element of the plurality of the circus that came to Brazil in the nineteenth century. To understanding this circulation it is necessary to analyse the transport system in the country, focusing on the railroads, to poi nt out the cultural impacts of the Bahia and San Francisco Railway and the Railway San Francisco on the interior of Bahia in the first half of the twentieth century and an analysis of the cultural life in the "network of cities" in Bahia, benefited by the railroads, especially the cities Alagoinhas, Serrinha, Senhor do Bonfim and Juazeiro. As an example of this movement, we discuss the French melodrama Les deux sergents from D'Aubigny, whose debut performance took place at the Théâtre de la Porte Saint-Martin in 1823. Translated into Portuguese, the piece was performed by circuses and theatre companies in several Brazilian cities, including those encompassed by this study, featuring a triumph of French melodramatic dramaturgy in Brazil over the course of more than a century. Referring to research in the History of Spectacle -Arts, the work is the result of a literature research in Brazilian and French works on relations between circus and theatre in the eighteenth, nineteenth and twentieth centuries as well as a documentary analysis of sources found in Fonds Léon Chancerel of the Société d’Histoire du Théâtre, in the Bibliothèque d’Arsenal linked to BnF-Bibliothèque nationale de France, on the site Gallica-Bibliothèque nationale de France in Paris, and in the archives of Fundação Iraci Gama – FIGAM, the Museu Pró-memória de Serrinha, the Memorial Senhor do Bonfim, and the Acervo Maria Franca Pires, located in the cities Alagoinhas, Serrinha, Senhor do Bonfim and Juazeiro.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T17:16:28Z No. of bitstreams: 1 DISSERTAÇÃO GILDON OLIVEIRA.pdf: 867409 bytes, checksum: dd0642398da5e91dc5020ee1669f6006 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-27T18:39:36Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO GILDON OLIVEIRA.pdf: 867409 bytes, checksum: dd0642398da5e91dc5020ee1669f6006 (MD5) / Made available in DSpace on 2018-08-27T18:39:36Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO GILDON OLIVEIRA.pdf: 867409 bytes, checksum: dd0642398da5e91dc5020ee1669f6006 (MD5) / Esta dissertação tem como ação fundamental a construção da narrativa dramática ficcional para o teatro Vermelho rubro amoroso... profundo, insistente e definitivo! e uma reflexão crítica do processo de criação da peça teatral considerando uma investigação teórica sobre o gênero dramático melodrama e a composição de estratégias de produção de efeitos emocionais. Neste trabalho, são configuradas diretrizes para um exercício de construção da fábula em que o dramaturgo se dispôs a compor estratégias de produção de efeitos emocionais, em especial os modos de relação entre a expressão das emoções das personagens e a convocação, através da dramaturgia, da disposição emocional do espectador, considerando a apreciação como uma experiência que envolve a subjetividade humana em diversas dimensões, sendo a dimensão emocional com as possíveis reações afetivas de um apreciador, o interesse maior deste estudo. / This dissertation is the construction of the fundamental action dramatic narrative fiction to theater Red crimson love ... deep, persistent and permanent! and a critical reflection of the process of creating the play considering a theoretical investigation of the dramatic genre of melodrama and composition strategies to produce emotional effects. In this work are set guidelines for building exercise fable in which the playwright was willing to compose strategies to produce emotional effects, especially the relationship between the modes of expression of the emotions of the characters and the call through the drama, the emotional disposition the viewer considering the appraisal as an experiment that involves human subjectivity in various dimensions and the emotional dimension with the possible emotional reactions of a connoisseur, the interest of this study.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-27Bitstream added on 2014-06-13T20:04:21Z : No. of bitstreams: 1 barbon_mcv_dr_arafcl.pdf: 3030855 bytes, checksum: f6d275af28a5d9f78364700d01c19902 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta tese procuramos seguir o caminho percorrido pelo melodrama em Portugal ao longo do século XIX, investigando as suas ocorrências no teatro português desde o início do século – quando ali se instalava o Romantismo –, passando pelo período do Ultrarromantismo, quando o gênero ganhou mais relevo, até chegar à época do Decadentismo-Simbolismo, quando as formas melodramáticas ainda se revelavam vigorosas, embora com alterações que tentamos esmiuçar. Investigamos o melodrama – com os seus conteúdos e as suas formas específicas – tal como se estabeleceu no Portugal oitocentista e como se desenvolveu ao longo desse período, procurando compreender as relações deste gênero dramático com o contexto sócio-cultural que o estimulou – afinal, a força do melodrama perdurou ao longo de Oitocentos. Verificamos qual a contribuição de Almeida Garrett enquanto introdutor do teatro romântico em Portugal, lutando por uma produção nacional de qualidade, susceptível de elevar o gosto e a cultura do público e, portanto, contrário à presença do melodrama, mas em cujas peças encontramos vestígios deste gênero. Considerando-se que a pesquisa abrangeu um período bastante extenso, utilizamos as seguintes obras como textos paradigmáticos: O cativo de Fez (1839), de Silva Abranches; Os dois renegados (1839), de Mendes Leal; O fratricida (1844), de Guerra Leal; O último acto (1859), de Camilo Castelo Branco e, finalmente, de D. João da Câmara, O pântano (1894) e A Rosa Enjeitada (1901) / In this thesis, we tried to follow the way through the melodrama in Portugal throughout the XIX century, by investigating its occurences in the Portuguese theatre since the beginning of that century – at the time that the Romanticism established itself there –, going through the period of the Ultra-romanticism, when the genre got more notorious, until it gets to the period of the Decadentism-Symbolism, when the melodramatic features still revealed themselves vigorous, nevertheless under some changes which we tried to examine in detail. We investigated the melodrama – with its contents and its specific features – such as how it established itself in the Portugal eighties, and how it developed itself throughout this period, trying to understand the relation between this dramatic genre and the social-cultural context which stimulated it – at last, the strength of the melodrama lasted through the Eighties. We checked what the contribution of Almeida Garrett was as an introducer of the romantic theatre in Portugal, struggling for a national production of quality, susceptible to lift up the taste and the culture of the public hence opposed to the presence of the melodrama. However, we could found traces of this genre in his plays.– Taking into consideration that the research comprised a considerable extensive period, we used the following masterpieces as paradigmatic texts: O cativo de Fez (1839), by Silva Abranches; Os dois renegados (1839), by Mendes Leal; O fratricida (1844), by Guerra Leal; O último acto (1859), by Camilo Castelo Branco and, finally, by D. João da Câmara, O pântano (1894) and A Rosa Enjeitada (1901)

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-06-27T21:37:30Z No. of bitstreams: 1 Leandro Aparecido de Moura.pdf: 8175183 bytes, checksum: 24711db1eaf2c7c847c7c9bfb7f2e76d (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-07-03T21:59:09Z (GMT) No. of bitstreams: 1 Leandro Aparecido de Moura.pdf: 8175183 bytes, checksum: 24711db1eaf2c7c847c7c9bfb7f2e76d (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-07-03T22:01:36Z (GMT) No. of bitstreams: 1 Leandro Aparecido de Moura.pdf: 8175183 bytes, checksum: 24711db1eaf2c7c847c7c9bfb7f2e76d (MD5) / Made available in DSpace on 2017-07-03T22:01:47Z (GMT). No. of bitstreams: 1 Leandro Aparecido de Moura.pdf: 8175183 bytes, checksum: 24711db1eaf2c7c847c7c9bfb7f2e76d (MD5) Previous issue date: 2016-06-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / La aparición del melodrama género en el teatro francés de finales del siglo XVIII hasta la invención del cine en el siglo XIX, estamos interesados en el estudio de la forma contemporánea los miembros género melodramático fueron en las películas. Sobrevive en el trabajo de varios directores, pero en particular interesado en el análisis de cómo el director español Pedro Almodóvar utiliza el género para componer sus historias. Vamos a estudiar la forma en que el melodrama tomó en películas Matador (1985-1986 ) , La ley del deseo (1986 ) , Carne trémula (1997 ) , Todo sobre mi madre (1999 ) Hable con ella ( 2002) y La mala educación (2004 ) . Analizaremos a través del decoupage de las seis películas que aquí se presentan, las posibilidades actuales de la utilización de elementos que forman el melodrama y como Almodóvar se apropia de la misma, principalmente a través del uso del plan de detalle con el fin de componer sus narrativas . Estas son las preguntas que guiarán esta investigación. / Do surgimento do gênero melodrama no teatro francês do final do século XVIII até a invenção do cinema no século XIX, interessa-nos estudar a forma contemporânea que os elementos do gênero melodrama tomaram no cinema. Ele sobrevive no trabalho de diversos diretores, mas pretendemos particularmente analisar como o diretor espanhol Pedro Almodóvar se utiliza do gênero para compor suas histórias. Estudaremos a forma que o melodrama tomou nos filmes Matador (1985-1986), A Lei do Desejo (1986), Carne Trêmula (1997), Tudo Sobre Minha Mãe (1999), Fale com Ela (2002) e Má Educação (2004). Analisaremos, por meio da decoupagem dos seis filmes aqui apresentados, as possibilidades atuais do uso dos elementos que dão forma ao melodrama e como Almodóvar se apropria dos mesmos, principalmente através do uso do plano detalhe, a fim de compor suas narrativas. Estes são os questionamentos que nortearão esta pesquisa.