La différence et l'altérité reliant les questions de la représentation, de l'identité et de l'idéologie, constituent des concepts opératoires pour une appréhension créative d'un cinéma national en évolution. Située à la croisée des études culturelles et cinématographiques, l'étude se concentre sur le cinéma turc contemporain déterminé de plus en plus par l'affranchissement des seuils de visibilité et de légitimité des sujets marginaux et minoritaires avec de nouveaux thèmes et formes de récit. L'élargissement de l'horizon défini par les conditions de possibilité du secteur, et les changements survenus dans le contexte socio-culturel expliquent en partie cette ouverture et la diversité des visions contenues. L'analyse des films répartis en fonction des figures de l'autre et des problèmes qu'elles soulèvent, révélant les mouvements de repli ainsi que les capacités d'innovation des œuvres filmiques, témoigne moins d'un renouveau du cinéma turc que d'une intensification de la lutte au sein du dispositif dominant. Tandis que les nouvelles stratégies de représentations se développent parallèlement aux changements des modes de contrôle, le renouvellement des images implique l'instauration des nouvelles frontières de visibilité et normes d'accessibilité. Le traitement de la question de l'Autre permet de distinguer trois modes particuliers non exclusifs, représentant les tendances principales au sein du cinéma turc : mode nostalgique, mode critique et mode réflexif. / The difference and the otherness constitute the operative concepts for understanding the creative development in national cinema. This study, intersecting cultural studies and cinematographies, concentrates on the contemporary Turkish cinema determined more and more by the liberation of the thresholds of visibility. The enlargement of the horizon defined by the conditions of erratic possibilities and materials in the film industry and the changes in the socio-cultural context explain partly the widening of the cinematographic space and the diversity of visions contained. The analysis of film texts are distributed according to the figures of the other and the problems they are raising, revealing the regressive movements as well as the capacity for innovation that emerge from the films, shows less a renaissance or revival of Turkish cinema than an intensification of the struggle within the dominant system. Developing new strategies in the field of representation goes hand in hand with the changes in the modes of control, and this synergy paves the way to the establishment of the new frontiers and new accessibility norms. The treatment of the question of the Other allows to distinguish three non-exclusive modes particularly, representing the main trends within the Turkish cinema : the nostalgic mode, the critical mode and the reflexive mode.

Submitted by Flavio Rocha (flaviorrocha1979@gmail.com) on 2018-09-10T17:03:30Z No. of bitstreams: 1 DISSERTACAO - PPGIS 2013 - FLAVIO ROGERIO ROCHA - Super Festivais do GRIFE producao circulacao e formacao de cineastas no Super8 brasileiro 1973-1983.pdf: 15254464 bytes, checksum: 01149401e00793faddf2acdc14e810de (MD5) / Rejected by Ronildo Prado (ri.bco@ufscar.br), reason: Oi Flavio, Faltou enviar a Carta comprovante assinada pelo orientador. Solicite o modelo na Secretaria de Pós-graduação, preencha e colete a assinatura com o orientador e acesse novamente o sistema para fazer o Upload. Faltou também inserir a folha de aprovação com as assinaturas da banca na dissertação ou tese. Para reenviar a submissão, faça a edição no próprio RI UFSCar, e após as correções solicitadas refaça o processo até o final novamente. Fico no aguardo para finalizarmos o processo. 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Abraço Ronildo on 2018-09-10T20:18:59Z (GMT) / Submitted by Flavio Rocha (flaviorrocha1979@gmail.com) on 2018-09-12T18:22:42Z No. of bitstreams: 2 carta comprovante - PPGIS - FLAVIO ROCHA (1).pdf: 249736 bytes, checksum: 0d04b974e619c1a5a61ab755950025b3 (MD5) DISSERTACAO - PPGIS 2013 - FLAVIO ROGERIO ROCHA - Super Festivais do GRIFE- producao circulacao e formacao de cineastas no Super8 brasileiro 1973-1983.pdf: 15177367 bytes, checksum: 6fabbd3d51fa72e9f5afb614b1510476 (MD5) / Approved for entry into archive by Eunice Nunes (eunicenunes6@gmail.com) on 2018-09-17T13:58:45Z (GMT) No. of bitstreams: 2 carta comprovante - PPGIS - FLAVIO ROCHA (1).pdf: 249736 bytes, checksum: 0d04b974e619c1a5a61ab755950025b3 (MD5) DISSERTACAO - PPGIS 2013 - FLAVIO ROGERIO ROCHA - Super Festivais do GRIFE- producao circulacao e formacao de cineastas no Super8 brasileiro 1973-1983.pdf: 15177367 bytes, checksum: 6fabbd3d51fa72e9f5afb614b1510476 (MD5) / Approved for entry into archive by Eunice Nunes (eunicenunes6@gmail.com) on 2018-09-17T14:06:55Z (GMT) No. of bitstreams: 2 carta comprovante - PPGIS - FLAVIO ROCHA (1).pdf: 249736 bytes, checksum: 0d04b974e619c1a5a61ab755950025b3 (MD5) DISSERTACAO - PPGIS 2013 - FLAVIO ROGERIO ROCHA - Super Festivais do GRIFE- producao circulacao e formacao de cineastas no Super8 brasileiro 1973-1983.pdf: 15177367 bytes, checksum: 6fabbd3d51fa72e9f5afb614b1510476 (MD5) / Made available in DSpace on 2018-09-17T14:07:08Z (GMT). No. of bitstreams: 2 carta comprovante - PPGIS - FLAVIO ROCHA (1).pdf: 249736 bytes, checksum: 0d04b974e619c1a5a61ab755950025b3 (MD5) DISSERTACAO - PPGIS 2013 - FLAVIO ROGERIO ROCHA - Super Festivais do GRIFE- producao circulacao e formacao de cineastas no Super8 brasileiro 1973-1983.pdf: 15177367 bytes, checksum: 6fabbd3d51fa72e9f5afb614b1510476 (MD5) Previous issue date: 2015-05-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This research is the analysis of the trajectory of Super National Festivals of Super8 film, an initiative of the Group of Independent Filmmakers Experimental Films (GRIFE) of São Paulo, of its first edition in 1973 until 1983, when the festival ends. The idea is to give an overview of this important chapter of Brazilian cinema, which has not aroused great interest among researchers of cinema. To this end I make use of extensive documentation and critical fortune composed around the national superoitista production as articles in newspapers and magazines, exhibitions catalogs, etc., as well as historical documents related to the realization of GRIFE’s Super Festivals. / Este trabalho de pesquisa consiste na análise da trajetória dos Super Festivais Nacionais do Filme Super8, iniciativa do Grupo de Realizadores Independentes de Filmes Experimentais (GRIFE) da cidade de São Paulo, de sua primeira edição em 1973 até 1983, quando o festival termina. A ideia é traçar um panorama sobre esse importante capítulo da cinematografia brasileira, que ainda não despertou grande interesse entre os pesquisadores de cinema. Para este intuito lanço mão de extensa documentação e fortuna crítica composta em torno da produção superoitista nacional, como artigos em jornais e revistas, catálogos de mostras, entre outros, assim como documentos históricos relacionados a realização dos Super Festivais do GRIFE. / CAPES: 1273631

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This thesis explores the films produced in the francophone Belgian region of Wallonia as a case study for the configuration of what will be termed a ‘transnational regional’ cinema. The first section of this dynamic is considered in relation to film and cultural policy, which problematizes the possible formation of a clearly delineated regional or ‘national’ cinema. This presupposes a reconfiguring of the transnational along the lines of the regional and the linguistic communities of Belgium, which, in essence, pertains to how production, distribution and exhibition mechanisms function within the devolved region of Wallonia. This section therefore focuses on film policy as well as a macro- and micro- economic analysis of the industry in order to consider the perceived imbalance between Belgian and French cinema. In the second half, the thesis develops a textual analysis of a series of case study films to consider how cultural film policy and francophone Belgian identity is imagined and then imaged on screen. The interplay between the transnational and the regional is then nuanced by the approaches to the ‘transnational regional’ aesthetic. This aesthetic includes the visualization of the rural and urban Walloon landscape in Eldorado (Bouli Lanners, 2008) and Ultranova (Lanners, 2006) and the ‘marked’ regional landscape in Cages (Olivier Masset-Depasse, 2006). The shift in location across the conterminous border with France due to the logic of film funding engenders the approach to the ‘marked’ regional space in Masset-Depasse’s film. The final chapter tracks this aesthetic through to the works of the Dardenne brothers and in particular Le gamin au vélo (Dardenne brothers, 2011) in order to approach the construction of a peripheral spatial formation through corporeal movements. This therefore necessitates a consideration of how the Dardenne brothers’ film chimes with waves of European filmmaking, thereby revealing a regional space that is conceptualized as de-centred.

This thesis takes a historical approach to its subject and focuses on Swedish cinema of the 1940s and 1950s. The thesis argues that Swedish cinema experienced a renaissance in the 1940s, lasting approximately from 1940 to 1953. It further suggests that one of the most important filmmakers in this renaissance was Hasse Ekman. By focussing upon Ekman and this renaissance, a much-needed contextualisation of Ingmar Bergman will be achieved. Ingmar Bergman is one of the most well-known and well-researched filmmakers of all time, but there are still gaps in the material surrounding him, and one such gap concerns his cinematic origins. Bergman was a part of the 1940s renaissance, during which Bergman worked with, and was influenced by, other filmmakers and in particular Ekman. The thesis is divided into three parts. The first part introduces the relevant literature and discusses ideas of authorship and national cinema. It also provides a historic overview of Swedish society and cinema during the 1940s and 1950s, providing the context needed to better understand the films of Ekman, and Bergman too. This part also looks at the 1930s to illustrate what came before this renaissance, and how the films of the 1940s differed from what had gone before. The second part is a chronological overview of Ekman's career from the late-1930s to his move to Spain in 1964. The last part is a discussion of Ekman's relation to Swedish society and his view of the world, based on close textual readings of his films. The aim of the thesis is to present, for the first time, a coherent and extensive overview of Ekman's career and body of work, while also situating it in the specific context in which it emerged, thereby shedding new light on an important, though neglected, episode in cinema history.

Made available in DSpace on 2016-06-02T20:23:11Z (GMT). No. of bitstreams: 1 3175.pdf: 627963 bytes, checksum: 31240cff1bc45d6d50647b6c9576befd (MD5) Previous issue date: 2010-06-24 / Financiadora de Estudos e Projetos / This paper studies the Brazilian cinematography corporation political joint between 1999 and 2003. Starting from fiscal renounce model crisis in the national film production, wherein the dialog narrowing between filmmakers and the State led to the creation of the National Cinema Agency (Ancine), which generated the cinematographic group split concerning the agency link in the federal organization chart. In this context, I analyze the problems showed by the filmmakers to the sector sustainability and the possible solutions for this, including its limitations inside the scenario involving the cinematographic corporation, the State, the foreign distribution companies and national broadcasting companies. To do this research, it was used books, articles, internet site information, congress documents, federal legislation and interviews to set up the Brazilian cinema political joint development and its problems to execute the sector demands oriented to the sustainability. / Esta dissertação versa sobre a articulação política da corporação cinematográfica brasileira no período de 1999 a 2003. Partindo da crise do modelo de renúncia fiscal no incentivo da produção cinematográfica brasileira, em que o estreitamento do diálogo entre cineastas e o Estado desdobrou-se na criação da Agência Nacional de Cinema (Ancine), a qual ocasiona a divisão do meio cinematográfico no que diz respeito às aspirações de modelos de atuação da agência junto ao Estado. Neste contexto, analisam-se as dificuldades apresentadas pelos cineastas no caminho da autossustentabilidade do setor e as possíveis soluções para isto, inclusive suas limitações dentro do cenário envolvendo o meio cinematográfico, o Estado, as distribuidoras estrangeiras e as empresas radiodifusoras. Para realizar esta pesquisa foram utilizados livros, artigos, informações de sites da internet, documentos de congressos, legislação federal e entrevistas para configurar os desdobramentos da articulação política do cinema brasileiro e as dificuldades em concretizar as demandas do setor rumo à sustentabilidade.

From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.

Given the 2017 discontinuation of the Swedish Film Agreement and the surrounding debate on the rationales of film policy, this thesis will conduct a historical study of a particular instance of Swedish film policy history, thus seeking to contribute to the understanding of the consequences of film policy for the outcome of film. Looking at the relationship between Swedish public broadcasting (SVT) and the Swedish Film Institute (SFI) during the mid-1980’s, this thesis aims to investigate the historical background of the funding and production process that enabled the creation of Pica Pica, a feature documentary film on magpies made by director Mikael Kristersson. By applying Geir Vestheim’s theory of the four instrumental arguments for public support of the arts and through an idea analysis, the thesis will investigate what arguments could be said to be pivotal for the funding and production of Pica Pica. Analyzing policy documents concerning the SFI and SVT, as well as using interviews conducted with the people in decision-making positions at the time, the thesis investigates what rationales and circumstances might be said to have informed the funding and production of Pica Pica. Furthermore, Kristersson’s film will be analyzed in relation to concepts of ecocinema and in relation to its lineage in nature portrayal in Swedish film. Through its investigation of the role of the funding and production circumstances for the stylistic outcome of the film, the thesis seeks to contribute to the understanding of the importance and consequences of film policy and production organization for the outcome of film in current times withal.

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