CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Essa pesquisa procura investigar a relaÃÃo entre financiamento pÃblico e modos de produÃÃo de documentÃrios, por meio de uma experiÃncia de trabalho com pesquisa histÃrica, e conhecer, atravÃs de tÃcnicas de anÃlise fÃlmica, as formas estÃticas e narrativas dos sete documentÃrios cearenses produzidos pelo Programa de Fomento à ProduÃÃo e TeledifusÃo do DocumentÃrio Brasileiro, o DOCTV Brasil. A partir das ediÃÃes do Programa realizadas no CearÃ, serÃo observados os possÃveis impactos produzidos pelos modos de produÃÃo, estabelecidos pelo Poder PÃblico, nas experiÃncias estÃticas, de conteÃdo e narratividade desses documentÃrios. / This research seeks to highlight the relationship between public financing and documentary production methods, through a work experience with historical research, and know through film analysis techniques, esthetic forms and narratives of the seven documentaries produced in Cearà by the Program Promotion of the Production and Broadcasting of the Brazilian Documentary, the DOCTV Brazil. From the Program editions held in CearÃ, the potential impacts will be observed by the production methods, established by the Government, the aesthetic experiences, content and narrative of these documentaries.

The purpose of this study is to gain an understanding of Klawock's Tribal Citizens' relationship to harvesting what is colloquially known as customary and traditional foods and/or native foods. The state and federal governments categorize these culturally specific goods as subsistence foods. An unearthed, 5,360-year-old basket potentially links modern day Klawock Tribal Citizens with their ancestral ties to the region. Throughout this time, families in this region of Southeast Alaska have been participating in a form of indigenous fishery. Despite access to multiple grocery stores and fish canneries, tribal citizens choose to expend their family's efforts to harvest their own sockeye out of the Klawock watershed. Oral history and ethnography and methodologies were employed to record personal relationships with the harvest of these resources while also documenting a context in which these relationships exist. Klawock Cooperative Association's staff worked alongside the student researcher and participants to analyze the data and produce findings. Engaging in customary and traditional activities rewards participants with intrinsic facets of their identity. Alongside reinforcing identities, these activities teach participants about family dynamics and working as a team, as well as the responsibilities that come with. These responsibilities are formed through the assignment of roles and provide people with purpose. The roles of individuals within their family dynamic parallel their understanding of their place within the larger society. Having a purpose and knowing their place shapes participant's accomplishments in the food system and honors them with feelings of pride. Based on these findings, KCA interprets customary and traditional activities as an epistemology in which increased access and participation provides an upwards trajectory of community health.

SANTOS, Luciana Gomes. DOCTV no Ceará: financiamento público e modos de produção. 2015. 114f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-08-27T18:21:48Z No. of bitstreams: 1 2015_dis_lgsantos.pdf: 1575972 bytes, checksum: df9a85350ef7d030f471438db73294ca (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-08-28T14:15:56Z (GMT) No. of bitstreams: 1 2015_dis_lgsantos.pdf: 1575972 bytes, checksum: df9a85350ef7d030f471438db73294ca (MD5) / Made available in DSpace on 2015-08-28T14:15:56Z (GMT). No. of bitstreams: 1 2015_dis_lgsantos.pdf: 1575972 bytes, checksum: df9a85350ef7d030f471438db73294ca (MD5) Previous issue date: 2015 / This research seeks to highlight the relationship between public financing and documentary production methods, through a work experience with historical research, and know through film analysis techniques, esthetic forms and narratives of the seven documentaries produced in Ceará by the Program Promotion of the Production and Broadcasting of the Brazilian Documentary, the DOCTV Brazil. From the Program editions held in Ceará, the potential impacts will be observed by the production methods, established by the Government, the aesthetic experiences, content and narrative of these documentaries. / Essa pesquisa procura investigar a relação entre financiamento público e modos de produção de documentários, por meio de uma experiência de trabalho com pesquisa histórica, e conhecer, através de técnicas de análise fílmica, as formas estéticas e narrativas dos sete documentários cearenses produzidos pelo Programa de Fomento à Produção e Teledifusão do Documentário Brasileiro, o DOCTV Brasil. A partir das edições do Programa realizadas no Ceará, serão observados os possíveis impactos produzidos pelos modos de produção, estabelecidos pelo Poder Público, nas experiências estéticas, de conteúdo e narratividade desses documentários.

Esta Tese discute questões da construção historiográfica da história do cinema. A história do cinema compôs um conjunto de obras que, normalmente, toma como ponto de partida obras cinematográficas, e não aspectos considerados extra texto, como a economia ou a recepção. Esse trabalho tenta, através do uso do conceito de modo de produção, unir em um aparato conceitual questões estéticas e econômicas. Para tanto, refaz uma parte do percurso historiográfico sobre o cinema brasileiro dos anos cinqüenta e tenta discutir fundamentalmente dois aspectos: o primeiro que o cinema pode ser entendido por meio do conceito de modo de produção; e o segundo reside na descrição de dois exemplos, em linhas gerais, de modos de produção que coexistem na mencionada década. Por fim, destaca que o conjunto de filmes da chanchada produzido na Atlântida pode ser caracterizado como um modo de produção que se opunha de várias maneiras ao recém surgido modo de produção, representado pelo filme Rio 40 Graus. / This thesis discusses the historiography of Film History. Film History has produced a set of material that, generally, takes as starting point the films themselves and do not consider extra text material, such as the economy and the reception of the film. This work attempts, through the concept of mode of production, bridge under a conceptual apparatus matching up aesthetic and economic matters. In doing so, the work critically looks at the fifties Brazilian Film History and makes basically two propositions: one is that Cinema may be understood through the conception of mode of production; the second consists of the description of two examples, in general terms, of modes of production coexistent in the decade. Finally, it highlights that the set of chanchada films, produced by Atlantida, may be characterized as a mode of production that is in many ways opposed to the more recent modes of production represented by the film Rio 40 Graus.

Esta Tese discute questões da construção historiográfica da história do cinema. A história do cinema compôs um conjunto de obras que, normalmente, toma como ponto de partida obras cinematográficas, e não aspectos considerados extra texto, como a economia ou a recepção. Esse trabalho tenta, através do uso do conceito de modo de produção, unir em um aparato conceitual questões estéticas e econômicas. Para tanto, refaz uma parte do percurso historiográfico sobre o cinema brasileiro dos anos cinqüenta e tenta discutir fundamentalmente dois aspectos: o primeiro que o cinema pode ser entendido por meio do conceito de modo de produção; e o segundo reside na descrição de dois exemplos, em linhas gerais, de modos de produção que coexistem na mencionada década. Por fim, destaca que o conjunto de filmes da chanchada produzido na Atlântida pode ser caracterizado como um modo de produção que se opunha de várias maneiras ao recém surgido modo de produção, representado pelo filme Rio 40 Graus. / This thesis discusses the historiography of Film History. Film History has produced a set of material that, generally, takes as starting point the films themselves and do not consider extra text material, such as the economy and the reception of the film. This work attempts, through the concept of mode of production, bridge under a conceptual apparatus matching up aesthetic and economic matters. In doing so, the work critically looks at the fifties Brazilian Film History and makes basically two propositions: one is that Cinema may be understood through the conception of mode of production; the second consists of the description of two examples, in general terms, of modes of production coexistent in the decade. Finally, it highlights that the set of chanchada films, produced by Atlantida, may be characterized as a mode of production that is in many ways opposed to the more recent modes of production represented by the film Rio 40 Graus.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is the result of reflections on the conditions that shape, in modernity, the relationship of contemporary man and his environment. In a city in the Lower São Francisco Sergipe, a place used for socio-cultural analysis which handles this dissertation, where emphasizes the environment as the scene of disputes and transformation of this area, involving the power of capital over the domination of nature and the human resources that are allocated there. We're talking about the New Housing Complex Saramém in the municipality of Brejo Grande, Sergipe, which has its formation a decade and a half and stood on a tragic event occurred at the end of the 90s in the twentieth century: the old-sea invasion island Cabeço, in the same municipality, causing the Saramém were territory for its homeless. This work is concerned by sketching constituent elements of sociability and ways of life in Cabeço Island, Brejo Grande / SE, in relation to the ways of life and production material and symbolic present in the XXI century in Saramém set in the same city, under the sign of the capitalist promise of "development, progress and quality of life." This dissertation is the result of a work based on ethnographic practice, not only the author but also by some co-authors who conducted their research on site and are here, enriching the reflections and adding information to this work. Ethnomethodological of inspiration, lays bare the marks of these ideologies in discourses illuminating the daily practices in the region and revealing the distortions between the logic of capital and the logic of beiradeiro (Golobi, s / d). Also counts with the immeasurable help of recently produced custom expert's report of the Federal Court of the state of Sergipe, which aimed to clarify critical points in lawsuit filed by the Association of Village Cabeço in Brejo Grande, against the Hydroelectric Company San Francisco (Chesf), on the grounds that the installation of the Xingó Hydroelectric power plant would have drastically affected the natural flow of the river, causing the water of the power loss of this at the expense of the strength of the sea that lies at the mouth of the river where is located the island of Cabeço. In addition to the veracity of this claim, we will put into question the domination that these actions, transformation and commercialization of natural and human resources by man eventually mold into sociabilities levels in times of strong appeal to capital. / Este trabalho é fruto de reflexões acerca das condições que moldam, na modernidade, as relações do homem contemporâneo com o seu meio. Em um município do Baixo São Francisco sergipano, um lugar serve para a análise sócio-cultural da qual se encarrega esta dissertação, onde se privilegia o meio ambiente como palco de disputas e transformações deste espaço, que envolvem a força do capital sobre a dominação da natureza e dos recursos humanos que lá se alocam. Estamos falando do Novo Conjunto Habitacional Saramém, no município de Brejo Grande, em Sergipe, que tem sua formação há uma década e meia e se ergueu sobre um trágico acontecimento ocorrido ao fim da década de 90 no século XX: a invasão do mar à antiga ilha do Cabeço, no mesmo município, fazendo com que o Saramém fosse território para os seus desabrigados. Este trabalho se ocupa por esboçar elementos constitutivos das sociabilidades e modos de vida na Ilha do Cabeço, Brejo Grande/SE, em relação aos modos de vida e de produção material e simbólica presentes no século XXI no Conjunto Saramém, no mesmo município, sob o signo da promessa capitalista de “desenvolvimento, progresso e qualidade de vida”. Esta dissertação é fruto de um trabalho baseado na prática etnográfica, não apenas da autora, mas também por parte de alguns coautores que realizaram suas pesquisas no local e que estão, aqui, enriquecendo as reflexões e agregando informações a este trabalho. De inspiração etnometodológica, põe a descoberto as marcas das ideologias presentes nos discursos iluminando as práticas cotidianas na região e a desvelando as distorções entre a lógica do capital e a lógica do beiradeiro (Golobi, s/d). Também conta-se com o incomensurável auxílio do recentemente produzido laudo da pericial sob encomenda da Justiça Federal do estado de Sergipe, que teve como objetivo de esclarecer pontos decisivos em ação movida pela Associação do Povoado Cabeço, em Brejo Grande, contra a Companhia Hidrelétrica do São Francisco (CHESF), sob a alegação de que a instalação da Usina Hidrelétrica de Xingó teria afetado drasticamente o fluxo natural do rio, ocasionando a perda de força das águas deste em detrimento da força do mar que o encontra na foz do rio São Francisco, onde se localizava a ilha do Cabeço. Para além da veridicidade desta alegação, poremos em questão o que estas ações de dominação, transformação e mercantilização dos recursos naturais e humanos pelo próprio homem acabam por moldar em níveis de sociabilidades em tempos de forte apelo ao capital.

Les chaines d’approvisionnement contemporaines sont source de problèmes environnementaux, mais aussi d’impacts pour les communautés des abords des activités de production, consommateurs, ou encore travailleurs. Pour évaluer ces impacts, l’analyse sociale du cycle de vie (ACV-S) est développée depuis quinze ans en complément de l’ACV-E, qui traite, elle, des impacts environnementaux le long du cycle de vie des produits. Cette thèse vise à répondre à certains des défis méthodologiques pour sa conception et son application, par une évaluation de produits de systèmes alimentaires alternatifs belges (SAA), et à ces deux questions: i) que devrait évaluer l’ACV-S et ii) comment intégrer les chaines de causes à effet dans l’analyse, comme en ACV-E. Sur base de trois états de l’art (des cadres d’ACV-S, des études incluant les chaines de cause à effet, et des évaluations de produits alimentaires), nous développons et mettons en œuvre des propositions qui plaident pour i) une approche participative pour définir les critères; ii) une évaluation d’impact pour comprendre les pratiques des entreprises plutôt que leur simple rapportage, à travers l’articulation des indicateurs sur la base de théories existantes, comme l’approche de Global Commodity Chain: celle-ci place la gouvernance des chaines et la répartition de la valeur ajoutée entre les acteurs comme des facteurs explicatifs potentiels des problèmes socio-économiques présents dans les chaines; iii) une approche ‘imbriquée’ de la durabilité (ou ‘nested’), qui implique la considération des aspects économiques et de gouvernance des chaines, à côté des aspects managériaux et ‘sociaux’, et leur mise en relation. Nous cherchons ainsi à contribuer à faire de l’ACV-S un outil analytique qui vise l’amélioration des principaux problèmes dans les chaines d’approvisionnement, en analysant leurs causes profondes. Nos évaluations de produits de SAA, y. c. circuits courts et commerce équitable ‘Nord-Nord’, révèlent des rémunérations trop faibles et des conditions d’emploi précaires dans les fermes, rejetant ainsi notre hypothèse d’une durabilité plus élevée de ces produits, par rapport aux chaines dominantes. Ces faibles performances résulteraient d’une reproduction des mécanismes utilisés par les chaines dominantes (rapports de force déséquilibrés, faible engagement entre les acteurs, prix inéquitables). Ceci tendrait à confirmer notre autre hypothèse selon laquelle la gouvernance des chaines et les modalités de transaction impactent les conditions socioéconomiques des travailleurs au sein de ces chaines, d’où l’intérêt de considérer ces aspects en ACV-S. Aussi, d’autres éléments semblent jouer: la règlementation du travail en vigueur, qui encouragerait les contrats précaires, ou le contexte de marché qui influencerait fortement les prix pratiqués dans les SAA, d’où l’importance de se pencher sur les chaines dominantes pour améliorer la durabilité des produits alimentaires dans leur ensemble. Notre recherche confirme l’applicabilité et la pertinence de nos propositions, qui mériteraient d’autres applications pour une validation et des développements méthodologiques supplémentaires. / Today’s supply chains entail numerous and serious issues, concerning the environment but also regarding people, including communities’ surrounding production activities, final consumers and workers. In order to assess those latter social and socio-economic impacts on people, Social life cycle assessment (S-LCA) is a tool being currently developed to complement E-LCA, which assesses potential environmental impacts along the life cycle of products and services. This PhD aims to address some of the outstanding methodological challenges faced by S-LCA, with the support of an application on products from Belgian alternative food network (AFNs). The thesis focuses on three related main questions: i) what should S-LCA assess (topics, level of assessment, i.e. company’s practices, impacts on people, other) and ii) how to include impact pathways or cause-effect chains in the analysis, as it is done in E-LCA; iii) how should the assessment be carried out, so that it goes beyond a mere reporting? On the basis of three distinct states-of-the-art (on S-LCA frameworks, studies considering impact pathways and S-LCA studies in the food sector), we put forward and apply specific methodological proposals that argue for i) the use of a participatory approach to select assessment criteria; ii) the use of an impact assessment approach that allows to understand company’s practices rather than their mere reporting, through an articulation of assessment criteria and indicators based on existing theories, including in social sciences. In this regard, the Global commodity chain approach that identify chain governance and value distribution among chain actors as potential stressors or root causes of social and socio-economic problems in supply chains, seems particularly relevant; iii) the use of a nested approach to sustainability in which also economic and governance aspects are taken into account, in addition to managerial and “social” aspects of supply chains, which are usually included. With this work we aim to contribute for S-LCA to become an analytical tool contributing the improvement of main problems in supply chains, e.g. income, employment and working conditions, by analyzing their root causes. Our assessments of products traded under various alternative chains, including short food chains and a local Fair trade chain, reveal low income and poor employment conditions on farms. This rejects our assumption of better social sustainability performances of AFN products, when compared to those of mainstream chains. Those poor performances would originate in the mechanisms used (e.g. unbalanced power relations, low commitment between VCAs, unfair prices), which are similar in mainstream chains. This would tend to confirm our assumption that chain governance and transaction modalities (i.e. business practices of chain actors) impact on socioeconomic conditions of workers in supply chains (or for the social sustainability of products), this is why we think it is of interest to consider those aspects in S-LCA. Also, other, more contextual, elements seem to come into play, such as labor regulations in force, that would encourage the use of non-standard forms of employment, and broader market context that influences AFNs quite strongly, including on prices. This is why it seems also important to work on mainstream food chains to improve overall product sustainability. Our research confirms the applicability and relevance of our methodological proposals, however further applications could be useful for further validation and methodological developments. / Doctorat en Sciences / info:eu-repo/semantics/nonPublished

[pt] Partindo da indagação o que filmam os diretores africanos contemporâneos quando, hoje, apontam suas câmeras para as cidades, esta tese empreende uma viagem investigativa por Johannesburgo, Maputo e Harare através dos filmes de diretores africanos em atividade na África Austral. Os cinemas africanos contemporâneos realizados em países como África do Sul, Moçambique e Zimbabwe lidam, ainda hoje, em maior ou menor grau, com os reflexos de modos de produção que tiveram origem no período de dominação colonial. Se, na contemporaneidade, a África do Sul logrou organizar uma estável indústria de cinema no sul do continente africano, países como Moçambique e Zimbabwe ainda sofrem com os reflexos de uma descolonização tardia dos modos de produção cinematográfica. Com a queda do apartheid na África do Sul (1994) e as independências de Moçambique (1975) e Zimbabwe (1980), as cidades, territórios severamente marcados pela segregação perpetrada pelo colonizador, passam a atrair a atenção de cineastas locais, ao se transformarem no palco de acirrados debates acerca da segregação racial e espacial, do direito à terra e à moradia, da mobilidade, da relação campo-cidade, do embate entre tradição e modernidade. As cidades africanas, até certo momento tidas como projetos interrompidos e inacabados do pesadelo colonial, passaram a ser consideradas, em toda a sua complexidade, como a epítome da própria modernidade africana. As imagens dessas cidades modernas, complexas e desiguais, que emergem do cinema contemporâneo local, rasuram ou perturbam o regime dominante de representação do continente africano propagado pelo cinema e pela mídia ocidentais, problematizam visões que prevaleceram nos contextos de luta anticolonial e conquista da independência e contribuem para a renovação do repertório de imagens da África arquivadas pelo Ocidente. Os filmes analisados nesta tese ajudam a criar cartografias outras das cidades africanas levadas às telas. Tais cidades cinemáticas – ao editar, seccionar, justapor, aproximar e eliminar espaços – produzem percepções múltiplas e, às vezes, inesperadas. / [en] Starting from the question what do contemporary African directors film, today, when they point their cameras towards the cities, this thesis undertakes an investigative journey through Johannesburg, Maputo and Harare in the films of African directors currently active in Southern Africa. Contemporary African cinemas produced in countries such as South Africa, Mozambique and Zimbabwe are still dealing, to a greater or lesser extent, with modes of production that originated in the period of colonial domination. If, in contemporary times, South Africa has managed to create a stable film industry in the south of the African continent, countries such as Mozambique and Zimbabwe still suffer from the reflexes of the late decolonization of their modes of film production. With the fall of apartheid in South Africa (1994) and the independence of Mozambique (1975) and Zimbabwe (1980), these cities, territories which are severely marked by the segregation perpetrated by the colonizer, start to attract the attention of local filmmakers, as they become the stage of heated debates regarding racial and spatial segregation, the right to land and to housing, mobility, the relation between countryside and urban life, the clash between tradition and modernity. African cities, for a long time regarded as unfinished and interrupted projects of the colonial nightmare, started to be perceived in all of their complexity, as the epitome of African modern itself. The images of these modern, complex and unequal cities, which emerge from local contemporary cinema, disturb the dominant system of representation of the African continent, propagated by Western cinema and media. They also problematize visions that prevailed in the contexts of anti-colonial struggle and conquest of independence and they contribute to the renewal of the repertoire of African images archived by the West. The films analyzed in this thesis help to create alternate cartographies for the African cities brought to the screen. Such cinematic cities – by means of editing, sectioning, juxtaposing, approximating and eliminating spaces – create perceptions that are multiple and, at times, unexpected.