A discussão sobre adaptações de obras literárias em realizações cinematográficas já passou do campo moralista da fidelidade ou traição para uma discussão menos valorativa. Isso significou uma focalização no estudo da intertextualidade entre a adaptação cinematográfica e o romance original, tendo como pontos de observação o tipo de seleção feita no processo da realização fílmica, a concretização visual do texto literário, a atualização de determinados temas abordados na obra e o foco narrativo, por exemplo. O que se pretende com este trabalho é a análise da estrutura narrativa do romance O tambor (Die Blechtrommel) de Günter Grass e do filme homônimo dirigido por Volker Schlöndorff, observando a forma como o romancista articula a construção complexa de seu foco narrativo e como o cineasta trabalha essa estrutura em seu filme, o que resulta em diferentes formas de perceber e interpretar tanto o narrador-personagem quanto o universo no qual está inserido. / Debates on the adaptation of literary works to the cinema have already surpassed moral judgments related to fidelity and treason, finding a more objective approach. It implies, for example, the comparison between the movie adaptation and the original work focusing on intertextuality and using, as points for analysis, the selection of literary material made during the filmic realization process, the visual achievement of the literary text, the update of some of the themes brought out by the writer and the narrative focus, among others. This work aims at analyzing the narrative structure of Günter Grass novel The Tin Drum (Die Blechtrommel) and Volker Schlöndorffs homonymous movie by observing the complex articulation of Grass narrative focus and the directors rendering of that structure, which results in different ways of perceiving and interpreting both the narrating character and the universe he is placed in.

\"Dom Casmurro sem Dom Casmurro\" tem como objetivo analisar o roteiro que a escritora Lygia Fagundes Telles e o crítico de cinema Paulo Emílio Salles Gomes fizeram a partir do livro Dom Casmurro de Machado de Assis para o filme Capitu (1968) do cineasta Paulo Cezar Saraceni. O livro que traz o tratamento do roteiro foi publicado pela Editora Siciliano, em 1993. A proposta do trabalho é comparar roteiro e obra, tendo como base os pontos principais levantados pela fortuna crítica do escritor, sobretudo os textos de Roberto Schwarz e John Gledson, e buscar um sentido, interpretar o conjunto de diferenças verificadas na passagem do livro ao roteiro para tentar entender a que tipo de leitura do romance de Machado de Assis as grandes e pequenas modificações promovidas pelo roteiro servem. / The aim of \"Dom Casmurro Without Dom Casmurro\" is to analyze the script written by author Lygia Fagundes Telles and film critic Paulo Emílio Salles Gomes based on the book Dom Casmurrro by Machado de Assis for the film Capitu (1968), by filmmaker Paulo Cezar Saraceni. The book containing the script was published by Editora Siciliano in 1993. This thesis will compare the screenplay and the book based on the central issues arising from the writer\'s critical fortune - especially the texts by Roberto Schwarz and John Gledson - and find a meaning as well as interpret the differences found in the adaptation in order to try to understand how the large and small changes in the screenplay can offer a different interpretation of Machado de Assis\' novel.

O trabalho trata da relação entre arquitetura moderna e cinema brasileiro, tendo como objetos os filmes Flores raras (2013), Eu sei que vou te amar (1986) e Insolação (2009), nos quais obras da arquitetura moderna foram utilizadas como cenário. Este usual procedimento do cinema, também denominado produção de locação, consiste na apropriação de lugares existentes para filmagens, valendo-se de seus espaços e atmosferas. Flores raras teve como cenário a Residência Edmundo Cavanelas (1954); Eu sei que vou te amar, a Casa da Lagoa (1942), ambas projetadas por Oscar Niemeyer; e Insolação foi filmado em diversos edifícios inseridos na paisagem de Brasília, tais como a concha acústica e a curia metropolitana. Identifica-se, de forma geral, o aspecto cenográfico destas obras de arquitetura, a fim de compreender os fatores que contribuiram para sua escolha como locação; para tal, toma-se como referencial teórico o estudo de Eric Rohmer sobre a organização do espaço no cinema; textos de Juhani Pallasmaa sobre a arquitetura do filme; Bernard Tschumi e a dimensão sensual da arquitetura; e Peter Zumthor, sobre a questão da atmosfera na arquitetura. Utiliza-se o conceito semiótico de visualidade e visibilidade, de Lucrécia Ferrara, assim como o procedimento metodológico de leitura de textos não verbais proposto pela autora; realizam-se, então, leituras de sequências dos filmes, considerando seu roteiro e outros materiais como contextualização. A partir dos filmes, identificam-se três aspectos distintos da arquitetura moderna localizados na historiografia da arquitetura. A dimensão cenográfica da arquitetura nos três filmes é apresentada tanto nas leituras quanto nas sequências ilustradas compostas por fotogramas dos mesmos. / The present thesis consists of the relation between modern architecture and the Brazilian movies Flores raras (2013), Eu sei que vou te amar (1986) and Insolação (2009), on which modern architecture is taken as set. At cinema, this is an usual procedure called production of locations: real places and buildings are used as sets, counting with their spaces and ambience. Flores raras was shot at Edmundo Cavanelas\'s house (1954); Eu sei que vou te amar, at Lagoa\'s house (1942), both designed by Oscar Niemeyer; Insolação was shot on several buildings and landscapes in Brasilia, such as the concert hall and the metropolitan curia. The scenographic dimension is identified on these buildings, in order to comprehend the factors which were taken in consideration to be chosen as location; for this reason, some theoretical references are taken: Eric Rohmer\'s study about the organization of space on cinema; Juhani Pallasmaa\'s texts about the architecture of films; Bernard Tschumi and the sensual dimension of architecture; and Peter Zumthor, about athmosphere issues on architecture. It is also considered the semiotic concept of visuality and visibility, conceived by Lucrecia Ferrara, as well as her non verbal method of analysis. Then, movie sequences analysis are carried out, considering the screenplay and other contextualization materials. Based on these movies, three distinct aspects of modern architecture are spotted on the historiography of architecture. The scenographic dimension of architecture on the films mentioned above is presented on analysis and on ilustrated sequences composed by their own frames as well.

Orientador: Jorge Sidney Coli Júnior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T16:21:05Z (GMT). No. of bitstreams: 1 Marins_DirceuCarlos_D.pdf: 12469254 bytes, checksum: a5f688b813a1ecb14cc07ff2da39c473 (MD5) Previous issue date: 2012 / Resumo: A partir dos filmes dirigidos pelo cineasta norte-americano Clint Eastwood, a pesquisa procura estabelecer uma apreciação dessa produção audiovisual através da paisagem. As relações indiciárias encontradas traçam motivos estéticos que se tomou por um estilo flutuante. A tese central é a de como os afetos e as locações/paisagens compõem efeitos poéticos e actanciais dentro desse estilo. Esses recursos são observados em suas modulações e efeitos recorrentes, ao longo de toda a filmografia do cineasta. A paisagem nos filmes - tomada aqui como os cenários naturais e naturados, tanto geográficos quanto meteorológicos - é estudada como elemento narrativo e, ao mesmo tempo, iconográfico. As modulações de suas aparições são tecidas a par de personagens outsiders e seus afetos no cinema do diretor, através da seleção de fotogramas/frames (cenas, sequências e planos sequência) de alguns de seus filmes. Assim, a pesquisa se apresenta em duas partes principais: I) filmografia completa, com detalhes técnicos e indicações do comportamento das tramas e das paisagens (na maior parte das obras); II) recortes específicos de algumas obras e de suas paisagens, por tópicos que conversam por entre diferentes filmes e períodos da filmografia do diretor. Relações com a pintura e outros diretores estabelecem, também, uma moldura de recursos estilísticos que atravessam essas composições audiovisuais / Abstract: By directed films of northamerican filmmaker Clint Eastwood the tesis accomplished an appreciation of this audiovisual production through landscape. The clues relations found marks esthetical motives that take it for a floating style. The central thesis is how the affections and the locations/landscapes compound poeticals and actancials effects into this style. This resources are watching in his modulations and recurring effects toward all filmography by the filmmaker. The landscape in the movies - take it here like the natural and naturated scenarios, also geographical and meteorological - is studied like narrative element and, at the same time, iconographical. The modulations of his appearance are tailoring by the side of outsiders characters and his affections in the cinema of the director, by selected frames (scenes, sequences and plan-sequences) of some of his movies. Thus the research shows in two principal parts: I) complete filmography with technical details and indications of the behavior of plots and the landscapes (in most of the works); II) specific cuttings of some of this works and his landscapes by topics that talk between different movies and periods of the filmography of the director. Relationships with the painting and other directors establishes too a frame of stylistic resources that crossing this audiovisuals compositions / Doutorado / Historia da Arte / Doutor em História

The aim of this thesis is to see how dark skinned people separate in two movies from the early 19th century. I am also going to analyze the movies from analysis questions that can be founded under the chapter called Analys. The movies I have been watching to analyze are The Birth of a Nation from year 1915 and Tarzan the Ape man from year 1932. The first movie from year 1915 is a reflection from 1860 but booth movies are reflections about the relationships between white westerner and black people from Africa in the beginning of the 1900th century. What the movies gave me as a receiver is that black people in the USA and South Africa shouldn’t be active in politics or even get the power to rule at all and it is very clear to see during the movies. According to the movies black people aren’t capable to rule in USA or in their own country in the continent Africa. The movies also show that black people should work with the cleaning and to please white people. I am going to use social representation theory in this thesis. The method that is used here is to watch the movies, write what they are about and then compare them in nine analyzing questions that is presented in the thesis.

This study explores how the concept of security is presented in current American action movies.This study will use the movie Zero Dark Thirty as an illustrative example to examine the concept ofsecurity during the ’War on Terror’-era. The study will use qualitative content analysis in order toexamine the concept of security.

I study movie studio profit maximization based on an optimization of a political language in the dialogues. I explore the flexibility with which a rational firm slants language of its movies in order to get closer either to a Democratic or a Republican customer. Using computational linguistics I construct vectors of phrase frequency distribution based on a text of almost a decade of U.S. Congress transcripts and 457 randomly chosen movie subtitles. In order to measure distance between the phrase vectors I use chi square statistics and its Monte Carlo approximation. I find no evidence of political slant in movies neither in a movie studio comparison nor for a time-varying comparison of movies in different years. In addition I construct a slant index covering level of political language in a movie. Using the index I find no evidence of impact of political language on movie revenues.

(in English): Our topic of this work is the effect of film therapy on the experience of people with depressive symptoms. Its aim is to find out what emotional responses films evoke in people with depressive symptoms and whether they find any risks or benefits in film therapy. In the theoretical part, firstly we focus on film therapy itself, its origins, empirical anchoring, definition and its application with a focus on its effects. We also discuss depression and its symptoms, which we examine in more detail, as well as the current treatment options for depression, based on ICD- 10. In this section, we also focus on the latest findings regarding the possibility of treating depressive symptoms through film therapy. The empirical part follows, which is focused qualitatively. Based on the analysis of semi-structured interviews with six respondents who have subjectively experienced depressive symptoms in the last five years, we are now looking for answers to the identified research questions. The results of the research are described in the last part of the empirical work, where they are discussed and compared with previous research results on this topic and the literature. Subsequently, other possibilities of potential folowing researches are discussed.

This study aims to investigate how English teachers in Sweden use fictional movies and TV series in their classrooms, in order to discover the potential they can have for students’ language proficiency, literacy, and cultural knowledge. The data is collected through a questionnaire distributed to 65 teachers in lower- and upper-secondary school, and secondary adult education. In the questionnaire the teachers are asked about their general habits in using fictional movies and TV series, such as how often they use them and whether they involve their students in the choosing of movies and TV series or not. Furthermore, the 65 respondents are asked what factors they take into consideration when choosing a movie or TV series, how they relate the viewing to the syllabus, what areas of language proficiency they most often address through the viewing, how they introduce the viewing to their students, and what intentional and accidental purposes they believe movies and TV series can serve. The results show that most teachers use fictional movies to a greater extent than fictional TV series. Furthermore, the results show that most teachers provide clear aims to their viewing of movies and TV series, as well as having clear connections to the different syllabuses. It is also evident that teachers see movies and TV series as a valuable resource when developing their students’ language proficiency, literacy, and cultural knowledge.

The thesis deals with measuring impact of documentary films on attitudes and behavior of the audience. The theoretical basis of this thesis is the assumption that social impact is a dynamic process where the engagement of an individual can lead to change of attitudes and behavior, and the individual's influence on others can change the society. Another assumption is that the impact on an individual is influenced by emotional and rational involvement. The third assumption is that the impact on the viewer changes over time when the extent of short-term impact after seeing the movie is bigger than extent of the impact measured with delay. The analytical part is devoted to the application of the method of repeated questioning, which allows to capture the development of the impact on the viewer over time. Within this thesis, a secondary analysis of quantitative data gathered in research of impact of films on ecological topic screened in film festival One World has been conducted. In addition, a thematic analysis of the in-depth interviews was conducted. These interviews have been carried out in order to establish the reasons and ways in which films impact the viewers. The conclusion of this thesis is that differences can be observed between the short and long-term impact on viewers in specific areas of...