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From social realism and socialist cinema, to the Turkish 'new wave' and the nascent Kurdish cinema, this dissertation traces the mutual implication of the production of Turkish national space and of Doğu ("The East") as cinematic space. Doğu emerged as part of a discursive formation within the Turkish state's address to eastern Turkey; it entered national cinema as a result of the journey of social realism to the region in the aftermath of the military coup in 1960, which allowed for the bourgeoning of the socialist public sphere and enabled filmmakers to cinematically reflect on the region. However, the state's renewed security-oriented interests, triggered by the resurgent Kurdish movement within both Turkey and Iraq, permeated the region and enforced limits on the representation of Doğu as a new cinematic space. Although in its cinematic incarnation 'Doğu' was hardly a perpetuation of state ideology, a cartographic anxiety--informed by the desire for spatial modernization--shaped the politico-aesthetic parameters of the region's cinematic presence. In recent years, the representation of the region within the nascent Kurdish cinema can be understood as a deconstructive turn problematizing the foundation of Turkish national space and the cinematic Doğu. / text

SOARES, Aline Rebouças Azevedo. Iracemas do cinema: um estudo de adaptações. 2017. 146f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Comunicação, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-07-04T16:53:59Z No. of bitstreams: 1 2017_dis_arasoares.pdf: 2549288 bytes, checksum: 0db7586f91ba61283e85ae7ef247f62e (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-07-25T14:19:40Z (GMT) No. of bitstreams: 1 2017_dis_arasoares.pdf: 2549288 bytes, checksum: 0db7586f91ba61283e85ae7ef247f62e (MD5) / Made available in DSpace on 2017-07-25T14:19:41Z (GMT). No. of bitstreams: 1 2017_dis_arasoares.pdf: 2549288 bytes, checksum: 0db7586f91ba61283e85ae7ef247f62e (MD5) Previous issue date: 2017 / The character Iracema, of the novel of Jose de Alencar was conceived to become the mythical mother of Brazil. A little more than a hundred years later, Carlos Coimbra canonically adapts to the cinema the beautiful and courageous India in Iracema, a virgem dos lábios de mel (1979). However, four years earlier, Jorge Bodanzky and Orlando Senna had conceived in Iracema, uma transa amazônica (1974) a mundane Iracema, with traits that the virgin of the lips of honey could never have, since she was created to be close to the divine and the chastity. This work approximates these motion pictures from the reinvention of its Iracemas and the foundation project of Alencar. We raise a theoretical discussion about the cinematographic adaptation and certain aspects that relate to it, such as the concepts of translation and transcription, the paradigm of fidelity, bereavement in translation and the question of authorship. We investigated the characterization of Iracema de Alencar from his mythical heroine traits and established some parallels between characteristics of classic heroines, such as Pocahontas, whose biography gained contours of myth; Atala, character of the novel of François-René de Chateaubriand; and Dido, Camilla and Lavinia, three characters from the Roman epic "Aeneid", by Publius Virgilio Maro. We then traced the profiles of Iracema of Coimbra and Iracema of Bodanzky and Senna, from some techniques of film analysis, such as study of plans and sequences and analysis of the film as narrative. We approach the characters from their counterpoints and elaborate a reflection on a trait identified in both: the erotization process. From the bibliography that guided the elaboration of this work we can highlight the studies of Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont and Laura Mulvey. We conclude with a reflection on the importance of the history of Brazilian cinematographic productions and the large amount of material we have available for studies in academic research. / A personagem Iracema, do romance indigenista de José de Alencar foi concebida para tornar-se a mãe mítica do Brasil. Pouco mais de cem anos depois, Carlos Coimbra adapta canonicamente para o cinema a bela e corajosa índia em Iracema, a virgem dos lábios de mel (1979). Todavia, cinco anos antes, Jorge Bodanzky e Orlando Senna haviam concebido em Iracema, uma transa amazônica (1974) uma Iracema mundana, com traços que a virgem dos lábios de mel jamais poderia ter, já que foi criada para estar próxima ao divino e à castidade. Este trabalho aproxima esses filmes a partir da recriação de suas Iracemas e do projeto de fundação alencarino do Brasil. Levantamos uma discussão teórica acerca da adaptação cinematográfica e determinados aspectos que a ela se relacionam, como os conceitos de tradução e transcriação, o paradigma da fidelidade, o luto na tradução e a questão da autoria. Investigamos a caracterização da Iracema de Alencar a partir de seus traços de heroína mítica e estabelecemos alguns paralelos entre características das heroínas clássicas Pocahontas, cuja biografia ganhou contornos de mito; Atala, personagem do romance de François-René de Chateaubriand; e Dido, Camila e Lavínia, três personagens da epopeia romana “Eneida”, de Públio Virgílio Maro. Traçamos, então, os perfis da Iracema de Coimbra e da Iracema de Bodanzky e Senna a partir de algumas técnicas de análise fílmica, como estudo de planos e sequências e análise do filme como narrativa. Aproximamos as personagens a partir de seus contrapontos e elaboramos uma reflexão sobre um traço identificado em ambas: o processo de erotização. Da bibliografia que norteou a elaboração deste trabalho podemos destacar os estudos de Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont e Laura Mulvey. Encerramos com uma reflexão acerca da importância histórica das produções cinematográficas brasileiras e da numerosa quantidade de material de que dispomos para estudos em pesquisas acadêmicas.

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-09-20T17:17:37Z (GMT). No. of bitstreams: 1 Maruno_GabrielaRufino_M.pdf: 2953336 bytes, checksum: 7cc3cf87cf6de9be42ffdd33e8af8f3e (MD5) Previous issue date: 2008 / Resumo: A motivação primeira desta pesquisa nasceu de um momento ímpar para aqueles que fazem do cinema brasileiro contemporâneo objeto de estudo e/ou de trabalho. Em 2005, a Agência Nacional de Cinema, após larga sistematização e recuperação de informações, disponibilizou o primeiro de uma série de arquivos (aqui intitulados "Banco de Dados da Ancine") contendo a história dos "números" do cinema nacional. A partir de então, outra ótica de análise e indagações do fazer cinematográfico foi disponibilizada. Produtores, realizadores, distribuidores e acadêmicos encontraram um denominador comum de discussão, um ponto nevrálgico que há tempos vinha sendo reivindicado por todos os personagens deste roteiro - misto de drama, comédia e terror - chamado Cinema Brasileiro. O surgimento desta fonte coincide, também, com um intenso período, em escala mundial, de questionamentos sobre a ética, definição, forma e realização do filme documentário. O Brasil atua como participante atento e ativo desta movimentação, que está longe de encontrar seu fim. Nos últimos três anos, por exemplo, foram lançados, nas salas de cinema do país, mais de 65 filmes documentários brasileiros de longa-metragem - sem contabilizar os documentários cabo, realizados exclusivamente para exibição em televisão. Da união destas duas conjunturas é que se construiu a coluna deste trabalho. Observando a participação do filme documentário, tendo como parâmetro o Banco de Dados da Ancine, procurou-se inferir qual o efetivo comportamento deste tipo de filme dentro da produção nacional realizada entre 1994 e 2007. Nos estudos de cinema, há os que se dedicam a estudar os sujeitos agentes (realizadores); há os que optam pelos produtos (filmes), sob as mais diversas facetas que podem gerar; e há os que, como nós, optam pelos dados que derivam das ações dos agentes e dos impactos dos produtos. Todos, no entanto, temos o mesmo intuito: entender o que "é" - ou o que "está" - nosso cinema. Portanto, a análise aqui apresentada é apenas um dos braços possíveis de diálogo, e de modo algum esgota o assunto: aproxima-se mais de uma proposta de longa discussão do que de uma breve solução. Palavras-chave: Cinema Brasileiro; Documentário; ANCINE / Abstract: The primary motivation of this research was born at an odd/unique time for those who work and study contemporary Brazilian cinema. In 2005, Agência Nacional do Cinema (The National Cinema Agency), after the extensive recovery and systemisation of information, released a series of archives (entitled "Banco de Dados Ancine" or "Ancine Database") containing the history of national cinema "numbers". Faced with this new source, another view of analysis and inquiries into film making became available. Producers, directors, distributors and academics found a common source of discussion, a sticking point that for years was being demanded by all the characters in this script - a mix of drama, comedy and terror - called Brazilian Cinema. The appearance of this source also coincides with an intense period, on a global scale, of questions about ethics, definition, form and direction of documentary film. Brazil acts as an active and attentive participant in this movement, which is far from finding its end. In the last three years, for example, more than 65 Brazilian feature length documentaries were released in national exhibition halls. It is from the union of these two states of affairs that the backbone of this work is built. By observing the participation of documentary film, having as parameter the Ancine Database, it attempted to find the real behaviour of this type of film within national production made between 1994 (considered the start of Reconquista of Brazilian Cinema) and 2007. In film studies, there are those who choose to study the subject agents (directors); there are those who opt for the products (films) under the most diverse facets that they can generate; and there are those who, like us, choose the data arising from the actions of agents and the impacts of products. All of them, however, have the same aim: to understand what "is" our cinema. Therefore, the analysis presented here is only one of the possible avenues of dialogue, and brings us closer only to a longer discussion rather than a short solution. Keywords: Brazilian Cinema; Documentary / Mestrado / Mestre em Multimeios

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / A personagem Iracema, do romance indigenista de Josà de Alencar foi concebida para tornar-se a mÃe mÃtica do Brasil. Pouco mais de cem anos depois, Carlos Coimbra adapta canonicamente para o cinema a bela e corajosa Ãndia em Iracema, a virgem dos lÃbios de mel (1979). Todavia, cinco anos antes, Jorge Bodanzky e Orlando Senna haviam concebido em Iracema, uma transa amazÃnica (1974) uma Iracema mundana, com traÃos que a virgem dos lÃbios de mel jamais poderia ter, jà que foi criada para estar prÃxima ao divino e à castidade. Este trabalho aproxima esses filmes a partir da recriaÃÃo de suas Iracemas e do projeto de fundaÃÃo alencarino do Brasil. Levantamos uma discussÃo teÃrica acerca da adaptaÃÃo cinematogrÃfica e determinados aspectos que a ela se relacionam, como os conceitos de traduÃÃo e transcriaÃÃo, o paradigma da fidelidade, o luto na traduÃÃo e a questÃo da autoria. Investigamos a caracterizaÃÃo da Iracema de Alencar a partir de seus traÃos de heroÃna mÃtica e estabelecemos alguns paralelos entre caracterÃsticas das heroÃnas clÃssicas Pocahontas, cuja biografia ganhou contornos de mito; Atala, personagem do romance de FranÃois-Renà de Chateaubriand; e Dido, Camila e LavÃnia, trÃs personagens da epopeia romana âEneidaâ, de PÃblio VirgÃlio Maro. TraÃamos, entÃo, os perfis da Iracema de Coimbra e da Iracema de Bodanzky e Senna a partir de algumas tÃcnicas de anÃlise fÃlmica, como estudo de planos e sequÃncias e anÃlise do filme como narrativa. Aproximamos as personagens a partir de seus contrapontos e elaboramos uma reflexÃo sobre um traÃo identificado em ambas: o processo de erotizaÃÃo. Da bibliografia que norteou a elaboraÃÃo deste trabalho podemos destacar os estudos de Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont e Laura Mulvey. Encerramos com uma reflexÃo acerca da importÃncia histÃrica das produÃÃes cinematogrÃficas brasileiras e da numerosa quantidade de material de que dispomos para estudos em pesquisas acadÃmicas. / The character Iracema, of the novel of Jose de Alencar was conceived to become the mythical mother of Brazil. A little more than a hundred years later, Carlos Coimbra canonically adapts to the cinema the beautiful and courageous India in Iracema, a virgem dos lÃbios de mel (1979). However, four years earlier, Jorge Bodanzky and Orlando Senna had conceived in Iracema, uma transa amazÃnica (1974) a mundane Iracema, with traits that the virgin of the lips of honey could never have, since she was created to be close to the divine and the chastity. This work approximates these motion pictures from the reinvention of its Iracemas and the foundation project of Alencar. We raise a theoretical discussion about the cinematographic adaptation and certain aspects that relate to it, such as the concepts of translation and transcription, the paradigm of fidelity, bereavement in translation and the question of authorship. We investigated the characterization of Iracema de Alencar from his mythical heroine traits and established some parallels between characteristics of classic heroines, such as Pocahontas, whose biography gained contours of myth; Atala, character of the novel of FranÃois-Renà de Chateaubriand; and Dido, Camilla and Lavinia, three characters from the Roman epic "Aeneid", by Publius Virgilio Maro. We then traced the profiles of Iracema of Coimbra and Iracema of Bodanzky and Senna, from some techniques of film analysis, such as study of plans and sequences and analysis of the film as narrative. We approach the characters from their counterpoints and elaborate a reflection on a trait identified in both: the erotization process. From the bibliography that guided the elaboration of this work we can highlight the studies of Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont and Laura Mulvey. We conclude with a reflection on the importance of the history of Brazilian cinematographic productions and the large amount of material we have available for studies in academic research.

This thesis traces the construction and evolution of the star text of Laurence Olivier as it relates to cinematic Shakespeare production and formulations of nationhood in 1940s and 1950s Britain. Organised around an examination of Olivier’s four Shakespearean film adaptations (including the unmade Macbeth), the project focuses on the ways in which the concept of 'Shakespeare' – signalled throughout by its italicisation – is appropriated through Olivier’s image in relation to the industrial and cultural contexts of the wartime and post-war British film industry. It also examines articulations of Shakespearean selfhood and related reappropriations of the filmic image in Olivier’s life writing, exploring how Olivier engages with his own star persona. In examining the relationship that exists between broader industrial-cultural appropriations of 'Shakespeare' and a sense of a star’s personal connection with the national poet, the thesis explores (in addition to the film texts) extratextual materials such as fan letters, publicity documents, theatre and film ephemera, magazine interviews, newspaper criticism, industrial reports and personal and professional correspondence in order to interrogate the national-cultural function of a star text whose image is aligned to 'Shakespeare'. This thesis seeks to make an original contribution to Shakespeare on screen studies by constituting the fullest study of Laurence Olivier’s cinematic Shakespearean career to date. In introducing and analysing previously unseen archival material (including screenplays and shooting scripts relating to the unmade Macbeth), the thesis informs our understanding of the evolving history of British Shakespeare production and, therefore, of the history of Shakespeare on screen. Rethinking Olivier’s cultural currency as a Shakespearean star in 2012 and in the space of the archive, the thesis also contributes to the theoretical thinking underpinning Shakespearean performance studies and archival studies. Finally, the thesis opens the way for further considerations as to how (and to what effect) the Shakespearean star operates as a national and transnational phenomenon.

Today's processes of cultural globalization involve three major trends: (I)the global expansion of transnational communications conglomerates; (2) the global implementation of market-oriented cultural policies; and (3) the global diffusion of new communication technologies. These processes have set in motion complicated consequencesa nd prompted a range of national responses.B oth China and Taiwan, the two locations which embody the Asian region's largest cultural formation, have experienced major shifis in their internal political and economic organisation and been significantly influenced by these interlinked global processes since the early 1980s. Taking the national film industries in both locations as a case study, this thesis examines the impact of globalisation on the organisation of national cultural production and distribution, and explores the uses of film in representing shifting conceptions of national culture and identity.

Existe-t-il une histoire du cinéma à Taiwan, une île qui connaît une longue et riche histoire coloniale, qui échapperait aux diverses formes imposées par les colonisateurs ? N’y a-t-il pas un cinéma résistant et indigénisé qui pourrait, en réaction aux contraintes sociales, politiques et culturelles, proposer une stratégie esthétique participant à l'émergence d'un sentiment national ? Ou faut-il attendre l'avènement d'un Nouveau Cinéma Taïwanais pour connaître un cinéma indigénisé dit “national” ?Afin de nourrir cette réflexion, la présente étude propose un retour sur l'une des formes originelles du cinéma taïwanais, au travers du personnage du benshi, en vue d’établir une histoire figurative. Deux autres figures, tâng-ki et kuso, nous permettent de développer la théorie du corps médiumnique. Cette dernière a pour objectif de construire une stratégie afin de résister aux troubles identitaires, autant dans l’espace public que dans l’espace privé. En conséquence, benshi, tâng-ki et kuso mettent en lumière une histoire cachée, une esthétique survivante, les bases d'une stratégie de résistance pour le cinéma taiwanais. / In Taiwan, the island of Formosa, where it holds a long history of colonization, is it possible for a history of cinema to escape from the various forms imposed by the colonists ? Could there be a resistant and indigenousized cinema, which offers an aesthetic strategy responding to the social, political and cultural issues ? At the meantime, also evokes a national sentiment ? Do we have to wait for the arrival of New Taiwan Cinema, which is known as indigenousized cinema to form a national cinema ?In order to explore these ideas, we will trace back to one of the original forms of Taiwan cinema, through the role of Benshi, to establish a figurative history. The other two roles, Tâng-ki and Kuso, will also allow us to develop the theory of mediumistic body, which will build a strategy responding to the identity crisis, both in public and private spaces. As a conclusion, Benshi, Tâng-ki and Kuso, which surface a previously hidden history and the surviving esthetics, become the funding bases of the resistance against colonization for Taiwan cinema.

The purpose of this essay is to study the film culture in South Africa in a national cinema-context, focusing on the relationship between anti-apartheid film from 1974-1994 and the film in South Africa today. By pitching the South Africa-specific works of Lucia Saks and Jacqueline Maingard against the over-arching debate on national cinema as formulated by, amongst others, Stephen Crofts and Andrew Higson, this study aims to find whether or not a specific South African national cinema have existed, and exists today, or not. The study finds that an underground culture of documentaries and short films made by and for the black population has been in place since the apartheid, and the distribution method on video and television is still being used to reach the black population today. By re-examining the concepts of both the national, and of national cinema to also include film on video and television, the study shows that South Africa has indeed a film culture that can be called a national cinema.

Submitted by Verena Bastos (verena@uefs.br) on 2015-10-19T20:34:59Z No. of bitstreams: 1 disserta??o-VERS?O FINAL impress?o.pdf: 3725270 bytes, checksum: 5100a12bdc95c0805e1f84f23b75e1ce (MD5) / Made available in DSpace on 2015-10-19T20:34:59Z (GMT). No. of bitstreams: 1 disserta??o-VERS?O FINAL impress?o.pdf: 3725270 bytes, checksum: 5100a12bdc95c0805e1f84f23b75e1ce (MD5) Previous issue date: 2013-03-21 / Funda??o de Amparo ? Pesquisa do Estado de S?o Paulo - FAPESP / This dissertation presents a critical study of the film Grito da terra (1964). Are analyzed elements of both ethical and aesthetic of the film within the context of Brazilian cinema in the decades 1950/60, based on the discourse of national-popular and adaptation processes undertaken by filmmaker Olney Sao Paulo for the production of Grito da terra from the novel by Ciro de Carvalho Leite. Discusses how the film of Olney S?o Paulo speaks to the productions of the season from ethical concerns in common, questioning how this work participates in debates raised by films that have the social problems of the northeast of Brazil as its central theme. As the film adaptation of a literary work are analyzed important aspects of dialogue between the book Grito da terra (1964) and the film in order to enhance important issues that are embedded in the process of adapting a literary work to the screen. / Esta disserta??o apresenta um estudo cr?tico sobre o filme Grito da terra (1964). S?o analisados elementos dos campos ?tico e est?tico do filme dentro do contexto do cinema brasileiro das d?cadas de 1950/60, tendo como base o discurso do nacional-popular e os processos de adapta??o realizados pelo cineasta Olney S?o Paulo para a produ??o de Grito da terra a partir do romance hom?nimo de Ciro de Carvalho Leite. Discute como o filme de Olney S?o Paulo dialoga com as produ??es da ?poca a partir de preocupa??es ?ticas em comum, problematizando como essa obra participa dos debates levantados por filmes que tiveram os problemas sociais do nordeste do Brasil como tema central. Sendo o filme uma adapta??o de uma obra liter?ria, s?o analisados aspectos importantes do di?logo entre o livro Grito da terra (1964) e o filme de forma a potencializar importantes quest?es que est?o imbricadas no processo de adapta??o da obra liter?ria para o cinema.