Thesis (Ph.D.) -- University of Adelaide, Dept. of Social Inquiry, 2000? / Bibliography: leaves 261-276. Also available in a print form.

Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains xiv, 135 p.; also includes maps, graphics (some col.) Includes bibliographical references (p. 123-135). Available online via OhioLINK's ETD Center

Thesis (D. Min.)--Liberty Baptist Theological Seminary, 2000. / Includes bibliographical references.

Thesis (M.A.)--Indiana University, 2009. / Title from screen (viewed on August 28, 2009). Department of Sociology, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Linda Haas. Includes vita. Includes bibliographical references (leaves 101-104).

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Rodney Anderson, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed June 9, 2006). Document formatted into pages; contains xiii, 251 pages. Includes bibliographical references.

This research considers the ways in which digital, networked technologies influence contemporary everyday life and creative practice. Through studio practice and writing, I ask how a contemporary condition of everyday life, characterised by the suppression of distance in speed of communication and the ubiquitous presence of surveillant apparatuses, affects the way we understand and use the image. I also consider the role of the digital image in both destabilizing and reinforcing human agency. In the past, tactical creativity was protected by a level of invisibility from the vision of authority, as described by Michel de Certeau. With the the spread of networked technologies, that invisibility is no longer possible. I take Vilem Flusser’s methodology of ‘playing against the camera’—a recipe for overcoming of the functionalist relationship between human and image technology—as a possible model for establishing my own and identifying other artists’ practices as tactics of visibility. I seek to develop a material consciousness of the digital image based on ontologies that assert the materiality of its processes and effects. In studio work, I blend manual and digital techniques for image-making in order to expose the structure of the digital image. I attempt the work of the apparatus outside the apparatus, by performing digital processes by hand, creating a model of difference and refining a physical sense of the disparity between human and computer scales through the reassertion of the body in a process of making. Using Kendall Walton’s notio of photographic transparency, I make an argument for the affective potency of the ‘poor image’, evidenced in artwork and mass media, as inseparable from its materiality. I fictionalize aspects of this transparency, depicting an impossible reality and allowing me to model present anxieties stemming from the rise of digital image production. I find that transparency and the instantaneity of the digital network are responsible in part for the obfuscation of digital materiality, as well as a confused sense of spatial relationships and personal interconnection. Image quality is politicized by connotations of credibility or agenda as it bends to the need for ever-faster communications. Though certain characteristics of the digital image encourage or sustain an ignorance with regard to its materiality, these characteristics can also be exploited to foreground materiality in art practice that aligns itself with the spirit and purpose, if not the invisibility, of de Certeau’s tactics, and the critical methods of resistance to a programme of technology suggested by Flusser.

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T18:48:00Z (GMT). No. of bitstreams: 1 Peron_MauroLuiz_D.pdf: 14030018 bytes, checksum: 7043dda53b78c6d2a8c953a574a75cf7 (MD5) Previous issue date: 2006 / Resumo: O objetivo desta pesquisa é demonstrar que a atenção de Hitchcock aos confrontos, tanto no tratamento dos temas quanto na construção dos personagens, está presente em diferentes articulações narrativas que desenvolveu, assim destacadas: No primeiro capítulo, a reflexão objetiva demonstrar que os personagens são construídos de modo a viverem o confronto entre culpa e inocência, e que esse perfil narrativo aciona o espectador perante diferentes inflexões de identificação com os personagens. No segundo capítulo, o objetivo é explorar o mecanismo que articula ocultação e revelação de informações tanto de personagens quanto do espectador, apontando como o diretor radicaliza as relações interrogantes, de engano e de ambigüidades e, nesse particular, como o nexo entre desvendamento e dissimulação aciona o suspense. No terceiro capítulo, a reflexão aponta para duas questões centrais, vinculadas à atenção do diretor para o nexo entre a imagem e o som, como o deslocamento da câmera de um diálogo para depositar-se em outra ação, sem diálogo. Simultaneamente, sua atenção à fonte sonora ganhará destaque, na fase muda e sonora de sua obra, na medida em que o ponto de vista assume ora a posição de ponto de escuta, ora a posição de silêncio. No quarto e último capítulo, a reflexão está centrada na maneira pela qual Hitchcock explora o corpo, de forma a traçar na superfície corpórea um tensionamento de várias ordens, desde a carga de injusta condenação até os desdobramentos morais de seus atos, elaboração que constitui um exercício estético na direção da construção de um corpo que demonstra, em sua presença, em seu gesto e em seu timing, um caráter eminentemente visual e, por isso, cinematográfico. A investigação, ao explorar os diferentes mecanismos narrativos do diretor, aponta para a prioridade visual que conferiu aos confrontos presentes nos temas e personagens eleitos para o seu cinema / Abstract: The objective of this research is to demonstrate that Hitchcock¿s attention to confrontations, both in the treatment of themes and in the construction of characters, is present in different narrative structures that he developed, in this manner highlighted. The first chapter shows that characters are built so as to live the confrontation between guilt and innocence, and that this narrative profile affects viewers through different inflexions of identification with characters.In the second chapter, the objective is to explore the mechanism that integrates the hiding and revelation of information both from characters and from viewers, indicating how the director radicalizes doubtful, misleading and ambiguous relationships and, in this respect, how the link between disclosure and dissimulation feeds suspense. The third chapter goes towards two core questions, related to the attention of the director to the link between image and sound, as the camera moves from one dialogue to set on another action, without dialogue. At the same time, Hitchcock¿s attention to sound sources will gain prominence as the point-of-view is sometimes in the listening position and other times in the silent position, even in his silent movies. Finally, the fourth and last chapter is centered on the way Hitchcock explores the body, outlining on the corporal surface many orders of tension, from the burden of unfair conviction to the moral consequences of one¿s acts, an elaboration that is an esthetical exercise towards building a body that shows, in its presence, in its gestures, and in its timing, an eminently visual feature and, for this reason, cinematographic. The investigation, by exploring the different narrative mechanisms of the director, indicates the visual priority that he assigned to the confrontations present in the themes and characters chosen for his movies / Doutorado / Doutor em Multimeios

Orientador: Nuno Cesar Pereira de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T18:27:02Z (GMT). No. of bitstreams: 1 Maia_PauloRobertodeAzevedo_M.pdf: 747136 bytes, checksum: 6a9422e12487c6f2dda271d54cd50823 (MD5) Previous issue date: 2006 / Resumo: Esse trabalho procura discutir a trajetória histórica e a constituição da linguagem do cinejornal Canal 100. A abordagem cinematográfica desse periódico foi, de forma não oficial, condizente com a proposta de leitura do Brasil feita pelo projeto de propaganda política do regime militar que procurou se distanciar dos tipos clássicos de propaganda. A história do cinejornalismo foi motivo de discussão, verificando a presença de vários governos no incentivo a produção e na sua utilização política. A história do Canal 100 (1959-1986) foi abordada com ênfase na figura do seu criador Carlos Niemeyer e suas relações com os governos militares. O formato do cinejornal foi estudado para uma melhor compreensão da sua estrutura narrativa e, particularmente, as imagens relativas ao futebol, responsáveis pela manutenção do Canal 100 na memória de algumas gerações / Abstract: This document discusses the historical route and the establishment of language of Canal 100, a movie news periodical. The movie approach of this series was conducted in non-official form according to the proposal of interpretation of Brazil made by the political propaganda project of the military regime which attempted to distinguish itself from classical forms of propaganda. The history of news movies was discussed, confirming the presence of various governments in the sponsoring of production and its political use. The history of Canal 100 (1959-1986) was remarkably emphasized by the figure of its director, Carlos Niemeyer and his relations with the military Governments. The format of the news movie series was studied for a better understanding of its narrative structure and especially the images related to soccer, responsible for the permanence of Canal 100 in the memory of several generations / Mestrado / Mestre em Multimeios

Orientador: Marcius Cesar Soares Freire / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T16:36:50Z (GMT). No. of bitstreams: 1 Vieira_MarceloDidimoSouza_D.pdf: 31779698 bytes, checksum: a4191e36cea78fd8ecc6af3f2fa67421 (MD5) Previous issue date: 2007 / Resumo: O cangaço foi uma forma de banditismo social ocorrido no Nordeste do Brasil entre os anos de 1870 e 1940. Esse movimento histórico foi retratado no cinema brasileiro em épocas distintas e de diversas formas. Os primórdios dos filmes abordando essa temática foram realizados a partir da década de 1920. O cangaço se consolida como gênero, o Nordestern, nos anos 1950, quando vários filmes passaram a retratar o tema com características comuns, utilizando o western como referência. A comicidade trabalhou o cangaço de forma satírica e alguns documentários foram produzidos ao longo desses anos. Glauber Rocha, um dos expoentes do Cinema Novo, também enveredou pelo tema com filmes de caráter simbólico. Na década de 1990, alguns filmes fizeram novas leituras na ¿retomada¿ do cinema brasileiro. Enfim, foram produzidos quase 50 filmes em 70 anos, que constituem um gênero tipicamente brasileiro: os Filmes de Cangaço / Abstract: The cangaço was a kind of social banditry that occurred in the Northeast of Brazil between the years 1870 and 1940. This historic movement was portrayed in the Brazilian cinema through different periods, by diverse forms. The first films approaching this thematic were developed from 1920 decade on. The cangaço is structured as a specific genre during the 1950 years, the Nordestern, when several films started to treat the subject with common characteristics, using the western as a reference. The comic type of film considered the cangaço in a satirical way and some documentaries had been produced along these years. Glauber Rocha, one exponent of the Cinema Novo, also engaged himself in the theme streamline with films of symbolic characterization. In 1990 decade some films brought new views, within the new Brazilian cinema. Finally, about 50 films were produced in 70 years, which constitute a very particular Brazilian genre: the Cangaço Films / Doutorado / Multimeios / Doutor em Multimeios

Orientador: Fernão Pessoa Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T00:59:08Z (GMT). No. of bitstreams: 1 Soares_SergioJosePuccini_D.pdf: 800443 bytes, checksum: a61a797d7b18804dcc52e9095c09bfda (MD5) Previous issue date: 2007 / Resumo: Essa pesquisa buscou investigar o processo de roteirização do documentário entendido como modo de organização da produção e do discurso do filme. Se no filme de ficção a escrita do roteiro ocorre integralmente no período da pré-produção, no documentário essa escrita muitas vezes se manifesta de maneira diferente; trata-se de uma escrita em aberto, que se estende por todo o processo de realização do filme. Foi com base nessa constatação que foi pensada a estrutura dessa tese, que inclui, em suas quatro partes, considerações sobre as três etapas de uma produção cinematográfica: pré-produção, filmagem e pós-produção. A possibilidade de se trabalhar com um roteiro em aberto faz com que funções técnicas, como direção de fotografia e montagem, adquiram maior participação criativa no filme chegando, em alguns casos, a dividir os créditos de autoria / Abstract: This research has investigated the process of construction of the documentary¿s screenplay thought as the mode of organization of the production and the discourse of the film. If in the fiction film the development of the screenplay occurs integrally in a period before preproduction in the documentary film this development occurs in a different way: its about an open development that¿s stretch out to all the process of filmmaking. The structure of this research was based upon this very notion. Its included, in its four parts, considerations about the three periods of film production: preproduction, production, and postproduction. The possibility to work with an open screenplay allows technical functions like direction of photography and edition to gains more participation in the creativity process of the film / Doutorado / Doutor em Multimeios