Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2018-04-27T11:55:33Z No. of bitstreams: 2 Dissertação - Cristiano Costa Pereira - 2018.pdf: 5590619 bytes, checksum: 00114c7f4540586e469f9d4b9fb124aa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-27T12:01:22Z (GMT) No. of bitstreams: 2 Dissertação - Cristiano Costa Pereira - 2018.pdf: 5590619 bytes, checksum: 00114c7f4540586e469f9d4b9fb124aa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-27T12:01:22Z (GMT). No. of bitstreams: 2 Dissertação - Cristiano Costa Pereira - 2018.pdf: 5590619 bytes, checksum: 00114c7f4540586e469f9d4b9fb124aa (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-28 / Outro / Cinema is a cultural product that constitutes subjectivity. This work analyzed the rationality of the free animated film "The Ice Age 3" (BlueSkay / Fox, 2009), which according to ANCINE obtained the largest audience from 2009 to 2015 in cinemas in Brazil. The theoretical reference of this work is the Critical Theory of Society, especially Theodor Adorno, Herbert Marcuse and Walter Benjamin, and Karl Marx's Historical Dialectical Materialism. The analysis of the production of the film "The Ice Age 3" revealed the presence of the rationality of the cultural industry when it presents the dominant ideology, stereotypes, clichés, tickets, experience, expropriation of schemes, profit as external purpose, humor that does not reconcile with humanity, impoverishment of content, personification of situations and resolutions that are social, typification of characters, emphasis on detail to give appearance of novelty, heroic median individual, technique primacy, spectacular outputs and an assembly that offers no space for the imagination and can´t see contradictions of the society. In this sense, it presents elements that outline a pseudoformation that promote the adaptation of the subjects to the capitalist logic. This dissertation was developed by means of the MINTER agreement in Education UFG / IFMT 2015, defended in 2018. / O Cinema é um produto cultural que constitui a subjetividade. Este trabalho analisou a racionalidade do filme de animação livre “A era do Gelo 3” (BlueSkay/Fox, 2009), que segundo a ANCINE obteve maior público de 2009 a 2015 nas salas de cinema do Brasil. O referencial teórico deste trabalho é a Teoria Crítica da Sociedade, principalmente Theodor Adorno, Herbert Marcuse e Walter Benjamin, e o Materialismo Histórico Dialético de Karl Marx. A análise da produção do filme “A era do Gelo 3” revelou a presença da racionalidade da indústria cultural quando apresenta a ideologia dominante, estereótipos, clichês, tickets, vivência, expropriação de esquemas, lucro como finalidade externa, humor que não reconcilia com a humanidade, empobrecimento do conteúdo, personificação de situações e resoluções que são sociais, tipificação de personagens, ênfase no detalhe para dar aparência de novidade, heroificação do indivíduo mediano, primado da técnica, saídas espetaculares e uma montagem que não oferece espaço para a imaginação e para perceber as contradições existentes na sociedade. Nesse sentido, apresenta elementos que delineiam uma pseudoformação que promovem a adaptação dos sujeitos à lógica capitalista. Esta dissertação de Mestrado foi desenvolvida por meios do convênio MINTER em Educação UFG/IFMT 2015, defendida em 2018.

Neste trabalho pretendemos apresentar elementos históricos dos caminhos percorridos pela educação e pelos audiovisuais no Brasil, dos que vieram importados e daquelas que foram produzidas aqui e, que retrataram temas correlatos ao ensino da Física, buscando elementos desta trajetória desde o Império com a chegada ao Brasil das primeiras imagens animadas, até aqueles produzidos especificamente para projetos de ensino de Física empregados no Brasil na década de 1960. Procuramos identificar as transformações e as políticas educacionais desde o império no Brasil até a década de 1960, quando são introduzidos no Brasil os projetos de ensino de física, e neles filmes educativos especificamente realizados como parte integrante do processo de ensino. Também identificamos as transformações dos programas de ensino de física do ensino secundário no colégio Pedro II, que serviram como referência para o ensino secundário em todo País, a fim de identificar os conteúdos presentes no ensino de física e que foram tratados em audiovisuais. Dedicamos atenção ao ensino primário de ciências físicas, com especial atenção ao método intuitivo, identificando possíveis contribuições dos primeiros filmes mudos. Foram investigadas as contribuições do Instituto Nacional do Cinema Educativo para o ensino das ciências físicas, tanto aqueles temas diretamente ligados à física, como aqueles ligados à física aplicada. Por fim foram identificados filmes vinculados a projetos específicos para o ensino da física. Assim buscamos contribuir para que o estudo dos audiovisuais que divulgaram ciências físicas colabore com o melhor entendimento da educação no Brasil. / This study intends to identify elements of the historical paths taken by education and audiovisuals in Brazil, produced both inside and outside of the Country, related to physics teaching, searching for elements since the empire period with the firsts animations, until those produced in the 60`s for physics teaching in Brazil. We aim to identify the educational transformation and teaching methods, since the empire time until the 60´s, when projects for physics teaching are introduced in Brazil, along with educative movies for this specific purpose. We also identified the transformation of teaching programs at Pedro II secondary school, which were used as a reference for secondary school in the whole Country, trying to identify all contents of physics teaching that were presented in audiovisual format. We dedicated special attention for the primary physics teaching, specially related to senses education, searching possible contribution from the first\'s mute movies. The contributions of physics teaching from The National Educative Cinema Institute where also looked into, regarding to physics and applied physics. At last, movies related to physics teaching propose has also been searched. We aim that the study of audiovisuals, that helped spreading physics sciences, help with a better comprehension of education in Brazil.

O Sal da Terra (Salt of the Earth) de 1954 de Herbert Biberman (1900-1971) foi emblemático para a história do cinema americano. O filme baseado em um evento real da história americana uma greve de mineiros no Novo México foi censurado durante o período da Guerra Fria e aqueles que fizeram parte de sua produção foram perseguidos por longos períodos, tendo suas carreiras arruinadas dentro do território americano. O objetivo deste estudo é demonstrar que as escolhas feitas por aqueles que produziram, dirigiram e participaram do filme revelam o posicionamento político, social e cultural fruto das lutas históricas de cada um dos grupos participantes. A maneira como Herbert Biberman (diretor), Paul Jarrico (produtor) e Michael Wilson (roteirista) criaram um filme de gênero híbrido e as escolhas estéticas e técnicas necessárias para sua consecução demonstram um resultado baseado na crença política dos criadores aliado à vontade de um povo em mostrar sua história. A análise será feita tendo textos basilares de autores como Walter Benjamin, Peter Szondi e Bertold Brecht, tratando questões relacionadas à forma de narrar e de mostrar através de escolhas baseadas na história. Também foram de grande ajuda os textos históricos de Rodolfo Acuña sobre o povo do Novo México, bem como os textos referentes ao filme em si. Considerar para esta análise a base histórica e política de todos que, de alguma maneira, participaram do filme é fator essencial para a compreensão e entendimento deste trabalho. / Salt of the Earth was emblematic to the history of the American cinema. The movie based on a true event of American history a miner strike in New Mexico was suppressed during the period of Cold War, and those who worked in its production were pursued for a long time, and their carriers were ruined inside American territory. The aim of this study is to show that the choices made by those who produced, directed and participated in the film reveal the political, social and cultural positioning, result of the historical fights of each group inside the movie. The way as Herbert Biberman (director), Paul Jarrico (producer), and Michael Wilson (screenwriter) created a movie with a hybrid genre and the aesthetic choices and techniques needed for its consecution shows a result based on creators political belief, allied with the people desire in showing its history. The analysis was made with authors basilar texts as Walter Benjamin, Peter Szondi, Bertold Brecht, treating questions related to the way of telling and showing through the choices based on history. It was also helpful the historical text from Rodolfo Acuña about New Mexico, as well the texts referred to the movie itself. Considering to this analysis the historical and political basis of everyone who, in any way, worked in the movie, is an essential factor to the understanding and comprehension of this job.

A cultura de aprender e ensinar uma língua estrangeira baseia-se em teorias implícitas que são compostas por fatores como crenças, motivações, memórias, intuições e imagens, dentre outros. Dessa forma, as concepções dos agentes envolvidos na operação global do ensino de línguas exercem profunda influência em todo o processo, já que cada indivíduo, permeado por seu contexto sócio-histórico-discursivo tem suas crenças que embasam as atitudes que norteiam seu comportamento em face do complexo processo de ensino-aprendizagem de línguas. Diante do exposto, esta tese tem como escopo analisar as crenças de professores de espanhol-língua estrangeira (E-LE) em formação inicial, no que diz respeito ao processo de aquisição/aprendizagem da língua estrangeira e ao tratamento unidade e diversidade linguística experimentada pelo espanhol no contexto do ensino desta língua para brasileiros; todas essas reflexões mediadas pelo cinema. Guiamo-nos pela pergunta de pesquisa: se e como se transformam, com a mediação do cinema, as crenças de professores de espanhol em formação inicial acerca do processo de aquisição/aprendizagem da língua estrangeira e do tratamento da unidade e diversidade linguística no ensino de espanhol-língua estrangeira para brasileiros? Trata-se de uma pesquisa qualitativa de cunho etnográfico que se iniciou com a compreensão panorâmica do nosso contexto e, a partir de um grupo focal, traçou um levantamento das crenças dos participantes antes, durante e depois das oportunidades de reflexão propiciadas ao longo do semestre 2013.2, de forma a compreender, no processo, como elas se transformavam ou não por meio das atividades de reflexão propostas. A fundamentação teórica do trabalho está ancorada na perspectiva sociocultural, na formação de professores de línguas, na reflexão a respeito das crenças que permeiam o complexo processo de ensino-aprendizagem de línguas e no papel do cinema como artefato semiótico mediador. A experiência reforçou nossa tese de que o cinema pode contribuir significativamente na formação inicial de professores de espanhol língua-estrangeira promovendo a conscientização linguística a respeito de como se adquire/aprende a língua, bem como possibilitando o trabalho com a variação linguística no ensino deste idioma para brasileiros a partir do cinema, considerado conforme a perspectiva sociocultural que adotamos como artefato cultural, ferramenta de mediação simbólica potencializadora do desenvolvimento humano. Concluímos ressaltando a necessidade da difusão do espanhol como língua estrangeira multidimensional e intercultural para brasileiros no âmbito da integração latino-americana, bem como a importância da promoção de espaços de mediação na busca pela transformação de conceitos cotidianos, iluminados por conceitos científicos, possibilitados por meio de atividades que se proponham promover o pensamento reflexivo acerca das crenças, estratégias e atitudes envolvidas no processo de aprendizagem de línguas estrangeiras, almejando potencializar o engajamento do aprendiz e o autogerenciamento da sua aprendizagem. / The culture of learning and teaching a foreign language is based on implicit theories involving beliefs, motivations, memories, insights and images, among others. In this sense, the concepts of the agents behind the overall operation of language teaching exert a profound influence on the whole process, since each individual, permeated by his socio-historical-discursive context, carries beliefs which ground their attitudes and behavior towards the complex process of teaching/learning languages. Considering the above, this dissertation aims at analyzing the beliefs of pre- service foreign language teachers of Spanish, with regard to their acquisition/learning of the language and the linguistic unit vs linguistic dichotomy experienced by Spanish teachers and learners in Brazil. These reflections will be mediated by the cultural and linguistic diversity of Spanish-speaking films. Our research questions whether the mediation of cinema would contribute to change the beliefs of pre-service teachers of Spanish towards the acquisition/learning of foreign languages and the linguistic diversity in the teaching of Spanish as a foreign language in Brazil. Under the framework of ethnography and qualitative research, our study started by understanding the larger context, and using the focus group methodology, we surveyed the beliefs of the participants before, during and after the reflection encounters offered throughout the second semester of 2013, in order to detect whether these beliefs changed in the course of the discussions. Our theoretical framework is grounded on a sociocultural perspective, and drawn from studies on teacher education, on the role of beliefs on foreign language teaching/learning, and on the role of cinema as an artifact of semiotic mediation. The experience has strengthened our contention that cinema can significantly contribute to pre-service training of teachers of Spanish by promoting language awareness and language learning metacognition. Moreover, films, when regarded as cultural artifacts and tools of symbolic mediation that amplify human development, enable a deeper understanding of cultural and linguistic variation. We conclude by stressing the Spanish should be taught as a multidimensional, intercultural foreign language in Brazil, in the context of Latin American integration. We would also like to emphasize the importance of promoting spaces of mediation, since they may contribute to the transformation of everyday concepts, enlightened by scientific concepts, afforded through activities that promote reflection on the beliefs, attitudes and strategies involved in the process of learning a foreign language, and these may ultimately encourage learners autonomy and the self-management.

O principal objetivo desta pesquisa é traçar um panorama sobre a trajetória da mulher no contexto da sociedade contemporânea a partir da Revolução pós- industrial utilizando-se para isso: o cinema, a propaganda e a internet . O ponto de partida é a revolução tecnológica a partir dos anos 70, seguindo com a revolução robótica, ciborgue e virtual. O intuito é mostrar como a representação da imagem da mulher vem se moldando às novas tecnologias, e como ela neste processo se adapta aos novos paradigmas sociais apresentados, onde as metáforas do robofem e do mulher-máquina que proliferaram na sociedade industrial estão hoje em decadência. Numa metamorfose balizada pela teleinformática e pelas biotecnologias, tais imagens estão sendo substituídas por outras: aquelas que começam a esboçar a mulher-informação, a mulher-comunicação, a mulher-ciborgue, a mulher virtual. Emerge, assim, uma nova imagem do feminino condenada a um upgrade constante, tanto do seu hardware (corpo/organismo) como de seu software (mente/código), e que visa a ultrapassagem dos limites espaciais e temporais que constringem a condição humana. Esta passagem do ser orgânico-inorgânico está em constante mutação. Basta que haja um esforço de adaptação às novas mudanças. E a mulher é peça fundamental neste novo contexto histórico. Por isso ser importante esta análise da representação de sua imagem em vários momentos sociais, que retomam alguns conceitos históricos através da sociologia, da antropologia e das teorias da comunicação. Para isso, basta estar aberto para estas novas incursões e aprender a conviver com o inusitado, pois a mulher, enquanto gênero, também está em constante upgrade pessoal, em uma eterna metamorfose, onde passa muitas vezes, de ditadora das regras a uma simples seguidora de modismos, que tem como consequência um downgrade de si mesma, pois apesar de estar intelectualmente, economicamente e socialmente mais sedimentada na sociedade, mesmo assim sente um vazio interior, provavelmente proveniente de um aceleramento sem consciência e sem muita direção de onde pretendia chegar e qual seria realmente a sua ascensão social. E é isso que se pretende analisar no decorrer da pesquisa: provar, através de vasta argumentação apoiada na bibliografia levantada, que esta mulher procura saídas plausíveis e substanciais para se firmar nesta constante e pouco segura sociedade que se metamorfoseia conforme as exigências do tempo e do espaço. / The main objective of this research is to draw a picture about the history of women in contemporary society from the industrial revolution after using it for two media: the cinema and advertising. The starting point is the technological revolution from 70 years following the revolution in robotics, and virtual cyborg. The aim is to show how the woman has developed in contemporary society and explore why this company is slowly dematerializing, where the metaphors of the robot and the human-machine that proliferated in industrial society are now in decline. A metamorphosis baptized by teleinformática and the biotechnology, such images are being replaced by others: those that begin to sketch the man-information society technology. In this way a subject bound to a constant upgrade both your hardware (body body) as its software (mind / code), aiming at exceeding the spatial and temporal boundaries that constrict the human condition. The image of the organic-inorganic is constantly changing. Just as we strive a little to adapt to many changes, that started with the post-industrial revolution in places and surprise us at every moment. The woman is a key part in this new historical context. Therefore it is important that analysis of the representation of your image in various social moments, returning with some historical concepts of sociology, anthropology and theories of communication. To do this just to be open to these new incursions and learn to live with the unexpected, as women, while gender is also in a constant upgrade of staff, in an eternal metamorphosis, which is often a dictator rules to a simple follower of fashion, which leads to a downgrade of itself, because despite being intellectually, economically and socially more established in society, still under a vacuum inside, probably from a speeding without conscience and without much direction he wanted to come and which would really be their social mobility. And that\'s what we intend to analyze during the research: to prove, through extensive argument supported by the bibliography reviewed, this woman looks plausible and substantial outputs in order to confirm this constant and uncertain society that transforms according to the demands of time and space.

This essay deals with the use of linguistic stereotypes in Hollywood movies. It investigates whether attitudes towards English dialects found in studies on perceptual dialectology are reflected in the selected movies and discusses the notion of linguistic identity and how standard and nonstandard speech, respectively, are used symbolically to emphasize features of characters in eleven movies from three different movie series, namely The Lord of the Rings, Star Wars and Transformers, with a main focus on syntactic and phonological dimensions. The essay finds a correlation between standard speech and features of competence and wisdom, and nonstandard speech and features of solidarity, sociability and traits of stupidity and humor. Moreover, very specific perceptions of certain varieties of English are probably utilized as amplifiers of equally specific characteristics of some characters. The use of dialects and accents in these movies is probably intentional and not coincidental.

This diploma thesis is devoted to documentary movies about contemporary Prague that were recorded between years 2006 to 2015. The aim of thesis was to use visual analysis to discover what images of contemporary Prague selected movies show and for what reasons these images differ. This analysis is then compared with the themes of human geography researches that focus on the topic of Prague. The thesis also represents the film geography as a relevant discipline that enables a deeper understanding of the geographic reality in its polysemy. Keywords: documentary movies, visual analysis, Prague, film geography, cultural geography, urban geography

Référentiel, réflexif, métaphorique constituent un échantillon des expressions et concepts employés pour qualifier les films de Tim Burton, attestant du lien qui unit ce corpus à l'histoire de son art et à son époque. Partant de ce constat, l'hypothèse proposée ici affirme que cette filmographie constitue un cinéma de la ré-imagination. Le cinéaste emploie lui même ce terme pour définir l'approche conceptuelle de son cinéma. Cette thèse explique d'abord le choix de ce mot par rapport aux concepts pré existants pour ensuite analyser ce qu'il englobe et implique dans la filmographie de Tim Burton. Ses films sont conçus comme des boîtes à jouets rassemblant souvenirs, imagination et pièces intactes. Ces éléments constituent la base formelle des ré imaginations burtoniennes. Ils s'entremêlent au sein d'une même image, tout au long d'un fil narratif parfois ténu. En adoptant des procédés cinématographiques et filmiques ramenant vers des âges antérieurs du septième art et rattachant les intrigues au domaine de l'imaginaire par l'intermédiaire de manifestations mentales, Tim Burton construit un cinéma ancré dans le passé, essayant de reconstituer le royaume de l'enfance en le reconstituant avec ce qu'il en reste. / Referential, reflexive, metaphorical – these are a few recurrent terms and concepts used to describe the films of Tim Burton, which attest to the links between this corpus and the history of his art and his era. Based on this observation, the present hypothesis argues that Burton’s filmography is a cinema of re imagination. The filmmaker himself uses this term to describe the conceptual approach to his films. This dissertation explains the choice of re imagination in regard to other pre existing concepts before analyzing the implications of re imagination in Tim Burton's filmography. His films are designed like toy chests in which memories, imagination, and intact pieces are collected. These elements establish the formal base of Tim Burton's re imaginings. They come together to form a single image by means an often tenuous narrative thread. By adopting cinematographic and filmic processes which look back to prior eras of the seventh art, and by bringing stories into the domain of the imagination through the intermediary of mental manifestations, Tim Burton builds a cinema that is anchored in the past, all while trying to restore the kingdom of childhood with what is left behind.

Traditional advertising has decreased while product placement in, for example, movies has increased. This has led to a problem, which is that viewers can perceive product placement as something negative. Product placement enhances viewers’ ability to recognize brands and products after watching a movie, while the placements can be congruent or incongruent. This study examines how brand recognition is produced and how congruence of a placement can affect audience acceptance. In response to this, a case study was conducted with embedded units consisting of three focus groups where the authors proceeded from a semi-structured interview guide. The study’s result was that five factors; irritation, familiarity, lack of excitement, unnecessary and iconic can impact how brand recognition is generated, based on the results of the focus groups. The study also resulted in placements that are congruent to the audience are accepted, while non-accepting placements are incongruent. A placement’s congruence is affected by the factors; expectancy and relevancy, perceived fit and individual judgements, and plot connection. / Traditionell reklam har minskat medan produktplacering i exempelvis filmer har ökat. Detta har lett till ett problem, vilket är att tittarna kan uppfatta produktplaceringen som något negativt. Produktplacering kan leda till att tittarna känner igen märken och produkter efter att det har sett en film och deras placeringar kan vara passande eller opassande. Den här studien undersöker hur varumärkesigenkänning uppstår och hur en placerings överensstämmelse kan påverka tittarnas accepterande. För att svara på detta gjordes en fallstudie med inbäddade enheter som bestod av tre fokusgrupper där författarna utgick från en semistrukturerad intervjuguide. Studiens resultat var att fem faktorer; irritation, bekantskap, brist på spänning, onödighet och ikoniskt påverkade hur varumärkesigenkänning uppstår baserat på resultatet från fokusgrupperna. Studien resulterade även i att de placeringar tittarna fann passande till filmen är accepterade, medan placeringar som inte är accepterande är opassande. En placerings överensstämmelse påverkas av faktorerna; förväntning och relevans, uppfattad lämplighet och individuella bedömningar och huruvida en placering är kopplad till handlingen.

Les humains sont au coeur de nombreux problèmes de vision par ordinateur, tels que les systèmes de surveillance ou les voitures sans pilote. Ils sont également au centre de la plupart des contenus visuels, pouvant amener à des jeux de données très larges pour l’entraînement de modèles et d’algorithmes. Par ailleurs, si les données stéréoscopiques font l’objet d’études depuis longtemps, ce n’est que récemment que les films 3D sont devenus un succès commercial. Dans cette thèse, nous étudions comment exploiter les données additionnelles issues des films 3D pour les tâches d’analyse des personnes. Nous explorons tout d’abord comment extraire une notion de profondeur à partir des films stéréoscopiques, sous la forme de cartes de disparité. Nous évaluons ensuite à quel point les méthodes de détection de personne et d’estimation de posture peuvent bénéficier de ces informations supplémentaires. En s’appuyant sur la relative facilité de la tâche de détection de personne dans les films 3D, nous développons une méthode pour collecter automatiquement des exemples de personnes dans les films 3D afin d’entraîner un détecteur de personne pour les films non 3D. Nous nous concentrons ensuite sur la segmentation de plusieurs personnes dans les vidéos. Nous proposons tout d’abord une méthode pour segmenter plusieurs personnes dans les films 3D en combinant des informations dérivées des cartes de profondeur avec des informations dérivées d’estimations de posture. Nous formulons ce problème comme un problème d’étiquetage de graphe multi-étiquettes, et notre méthode intègre un modèle des occlusions pour produire une segmentation multi-instance par plan. Après avoir montré l’efficacité et les limitations de cette méthode, nous proposons un second modèle, qui ne repose lui que sur des détections de personne à travers la vidéo, et pas sur des estimations de posture. Nous formulons ce problème comme la minimisation d’un coût quadratique sous contraintes linéaires. Ces contraintes encodent les informations de localisation fournies par les détections de personne. Cette méthode ne nécessite pas d’information de posture ou des cartes de disparité, mais peut facilement intégrer ces signaux supplémentaires. Elle peut également être utilisée pour d’autres classes d’objets. Nous évaluons tous ces aspects et démontrons la performance de cette nouvelle méthode. / People are at the center of many computer vision tasks, such as surveillance systems or self-driving cars. They are also at the center of most visual contents, potentially providing very large datasets for training models and algorithms. While stereoscopic data has been studied for long, it is only recently that feature-length stereoscopic ("3D") movies became widely available. In this thesis, we study how we can exploit the additional information provided by 3D movies for person analysis. We first explore how to extract a notion of depth from stereo movies in the form of disparity maps. We then evaluate how person detection and human pose estimation methods perform on such data. Leveraging the relative ease of the person detection task in 3D movies, we develop a method to automatically harvest examples of persons in 3D movies and train a person detector for standard color movies. We then focus on the task of segmenting multiple people in videos. We first propose a method to segment multiple people in 3D videos by combining cues derived from pose estimates with ones derived from disparity maps. We formulate the segmentation problem as a multi-label Conditional Random Field problem, and our method integrates an occlusion model to produce a layered, multi-instance segmentation. After showing the effectiveness of this approach as well as its limitations, we propose a second model which only relies on tracks of person detections and not on pose estimates. We formulate our problem as a convex optimization one, with the minimization of a quadratic cost under linear equality or inequality constraints. These constraints weakly encode the localization information provided by person detections. This method does not explicitly require pose estimates or disparity maps but can integrate these additional cues. Our method can also be used for segmenting instances of other object classes from videos. We evaluate all these aspects and demonstrate the superior performance of this new method.