Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-01-04T16:20:18Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Renata Barboza Cavalho.pdf: 2127346 bytes, checksum: 18eb838cdc71fced992efde1f17fcc38 (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-01-06T18:47:58Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Renata Barboza Cavalho.pdf: 2127346 bytes, checksum: 18eb838cdc71fced992efde1f17fcc38 (MD5) / Made available in DSpace on 2017-01-06T18:47:58Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Renata Barboza Cavalho.pdf: 2127346 bytes, checksum: 18eb838cdc71fced992efde1f17fcc38 (MD5) Previous issue date: 2016-09-22 / Fundo Mackenzie de Pesquisa / This master’s thesis addresses some issues about the subjectivity and ideology of the sight in the film production mediated by the technological apparatus. It seeks for an understanding of the human-camera relation in arts and culture, through an analysis of two productions that have the camera as protagonist: A man with a camera (1929) of Dziga Vertov and, The giant (1983) of Michael Klier. The work also explores the relations between these two productions and its contemporary relevance. / Esta dissertação aborda questões quanto à subjetividade e ideologia do olhar na produção artística cinematográfica intermediada pelo aparato tecnológico. Suscita uma busca pelo entendimento da relação homem-câmera nas artes e cultura, através da análise de duas produções que tem a câmera como protagonista: Um homem com uma câmera (1929), de Dziga Vertov e O gigante (1983), de Michael Klier. O trabalho também explora os pontos de convergência e divergência entre as duas obras e sua relevância no contemporâneo.