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Thesis (M.A.)--York University, 2007. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references (leaves 107-109). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR32011

Submitted by Jussara Moore (jussaramoore@id.uff.br) on 2017-02-02T14:31:16Z No. of bitstreams: 1 Dissertação Antonio Laurindo dos Santos Neto.pdf: 6736982 bytes, checksum: 3c384e034e4ce2e7e36f5124f51d7df7 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-02-03T14:04:15Z (GMT) No. of bitstreams: 1 Dissertação Antonio Laurindo dos Santos Neto.pdf: 6736982 bytes, checksum: 3c384e034e4ce2e7e36f5124f51d7df7 (MD5) / Made available in DSpace on 2017-02-03T14:04:15Z (GMT). No. of bitstreams: 1 Dissertação Antonio Laurindo dos Santos Neto.pdf: 6736982 bytes, checksum: 3c384e034e4ce2e7e36f5124f51d7df7 (MD5) / Pesquisa sobre os cinejornais da Agência Nacional, elaborada a partir da literatura de Ciência da Informação, Arquivologia, Cinema e História. As descrições e as representações documentárias dos cinejornais são analisadas em dois Sistemas de Recuperação da Informação (SRIs): Sistema de Informações do Arquivo Nacional (SIAN) e Portal Zappiens. Apresentam-se as características dos cinejornais e são propostos princípios metodológicos que contribuam para a análise e a representação arquivística da informação dos jornais cinematográficos e, em consequência, na recuperação e no acesso desses filmes no SIAN e no Portal Zappiens. Nos procedimentos metodológicos realiza-se pesquisa bibliográfica, análise dos filmes, verificação dos pedidos de informação enviados à Coordenação de Atendimento à Distância (COADI) do Arquivo Nacional, exame dos comentários publicados pelos usuários do Portal Zappiens e estudo comparativo de três instituições que realizam a difusão de audiovisuais. / Research about the newsreels of the Agência Nacional, elaborate from the literature of Information Science, Archival Science, Cinema and History. The descriptions and representations of documentary newsreels are analyzed in two Information Retrieval Systems (SRIs): Sistema de Informações do Arquivo Nacional (SIAN) and Portal Zappiens. Presents the characteristics of newsreels and methodological principles are proposed to contribute to the analysis and archival information representation of newsreels and, consequently, in retrieval and access of these films in SIAN and Portal Zappiens. The methodological procedures carried out literature search, analysis of the films, verification of information requests sent to Coordenação de Atendimento à Distância (COADI) of the Arquivo Nacional, examination of the comments posted by users Zappiens Portal and comparative study of three institutions that perform broadcasting of audiovisual.

Submitted by Jussara Moore (jussaramoore@id.uff.br) on 2017-02-09T13:44:51Z No. of bitstreams: 1 Dissertação Antonio Laurindo dos Santos Neto.pdf: 6736982 bytes, checksum: 3c384e034e4ce2e7e36f5124f51d7df7 (MD5) / Approved for entry into archive by Jussara Moore (jussaramoore@id.uff.br) on 2017-02-10T13:42:03Z (GMT) No. of bitstreams: 1 Dissertação Antonio Laurindo dos Santos Neto.pdf: 6736982 bytes, checksum: 3c384e034e4ce2e7e36f5124f51d7df7 (MD5) / Made available in DSpace on 2017-02-10T13:42:05Z (GMT). No. of bitstreams: 1 Dissertação Antonio Laurindo dos Santos Neto.pdf: 6736982 bytes, checksum: 3c384e034e4ce2e7e36f5124f51d7df7 (MD5) / Pesquisa sobre os cinejornais da Agência Nacional, elaborada a partir da literatura de Ciência da Informação, Arquivologia, Cinema e História. As descrições e as representações documentárias dos cinejornais são analisadas em dois Sistemas de Recuperação da Informação (SRIs): Sistema de Informações do Arquivo Nacional (SIAN) e Portal Zappiens. Apresentam-se as características dos cinejornais e são propostos princípios metodológicos que contribuam para a análise e a representação arquivística da informação dos jornais cinematográficos e, em consequência, na recuperação e no acesso desses filmes no SIAN e no Portal Zappiens. Nos procedimentos metodológicos realiza-se pesquisa bibliográfica, análise dos filmes, verificação dos pedidos de informação enviados à Coordenação de Atendimento à Distância (COADI) do Arquivo Nacional, exame dos comentários publicados pelos usuários do Portal Zappiens e estudo comparativo de três instituições que realizam a difusão de audiovisuais. / Research about the newsreels of the Agência Nacional, elaborate from the literature of Information Science, Archival Science, Cinema and History. The descriptions and representations of documentary newsreels are analyzed in two Information Retrieval Systems (SRIs): Sistema de Informações do Arquivo Nacional (SIAN) and Portal Zappiens. Presents the characteristics of newsreels and methodological principles are proposed to contribute to the analysis and archival information representation of newsreels and, consequently, in retrieval and access of these films in SIAN and Portal Zappiens. The methodological procedures carried out literature search, analysis of the films, verification of information requests sent to Coordenação de Atendimento à Distância (COADI) of the Arquivo Nacional, examination of the comments posted by users Zappiens Portal and comparative study of three institutions that perform broadcasting of audiovisual.

Thesis (M.A.)--Ohio University, August, 2009. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.S.)--Rochester Institute of Technology, 2007. / Typescript. Accompanying CD-ROM contains versions of the thesis in Word document and PDF forms. Includes bibliographical references (leaves 35-42).

During World War I, war films became an important part of Swedish cinema programs. Newsreels as well as war related fiction films from the different battling nations were distributed to film theaters around the country. With these new films, the recently established censorship bureau also got new duties to consider. Aside from protecting public moral and the youth, the censors were now expected to uphold the Swedish neutrality policy in the domain of cinema. Material sensitive for diplomatic relations or potentially politically arousing for the audience was removed or edited. There were several reasons as to why cinema was singled out as the most important medium to control during these sensitive times. The authentic aura of moving images together with a fear of the reactions of mass audiences made the risk of biased propaganda seem greater. This thesis analyzes the complex web of relations between Swedish neutrality, media specificity discourse and censorship of World War I films. Examples of censorship of both newsreels and fiction films are discussed in relation to media specificity discourse in trade journals and daily newspapers of the time.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-01-10T19:23:02Z No. of bitstreams: 2 Castro, Clarissa-Dissert-2013.pdf: 6407586 bytes, checksum: 0674ef34ca0ad59944120dae26506c75 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-01-10T19:23:02Z (GMT). No. of bitstreams: 2 Castro, Clarissa-Dissert-2013.pdf: 6407586 bytes, checksum: 0674ef34ca0ad59944120dae26506c75 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013 / Universidade Federal Fluminense. Programa de Pós-Graduação em História / Analisar os Cinejornais do Governo Democrático de Vargas como produções construtoras de uma memória e imagem do período pela ótica do Estado. A relação entre Vargas e os meios de comunicação e a utilização destes canais como veiculadores de propagandas políticas, permite o estudo da exibição de um poder que, não mais pela força, mas pelo esforço de convencimento e persuasão, através da produção midiática, busca sua legitimação perante o público receptor. Identificar nestes Cinejornais tanto o tipo de conteúdo por eles veiculado quanto elementos da linguagem cinematográfica presentes em suas construções, permite-nos analisar o discurso que permeia tais produções e as enxergar como escolhas feitas a partir de intenções e interesses que, em contato com o público receptor, podem ou não atingir seus objetivos. Parte de uma Cultura Política criada em torno da figura de Vargas, os Cinejornais desse período são uma das expressões do diálogo entre o Poder e seus interlocutores. / Analyze the newsreels of the Vargas Democratic government productions buiders of memory and an image of the period through the eyes of the state. The relationship between Vargas and the media channels and use these as vehicles for political propaganda, it allows the study of a display of power, not by force but by the effort of convincing and persuasion through media production, seek its legitimacy receiver to the public. Identifying these newsreels both the type of content conveyed by them as elements of film language present in their buildings, allows us to analyze the discourse that permeate such products and see how choices made from the intentions and interests which, in contact with the public receiver may or may not achieve their goals. Part of a culture built around the figure of Vargas, the newsreels of the period are an expression of dialogue between the Power and its partners.

A travers l’étude de l’œuvre du cinéaste Roman Karmen, nous souhaitons reconstituer un patrimoine et tenter d’en définir les enjeux autour de questions historiographiques. En effet, les images de l’opérateur soviétique n’ont pas seulement marqué l’histoire du XXème, elles ont en partie contribué à la construire en un objet unique. Les propriétés métonymiques de l’image (photographies et prises de vues) ont bouleversé notre perception en même temps qu’elles ont participé à la construction d’un récit historique général d’un nouvel ordre. Il s’agit d’un récit visuel complexe où se mêlent prises de vues sur le vif et mises en scène, motifs et emblèmes, personnages principaux, personnages secondaires et masses anonymes. Disséminées, ces prises de vues constituent le principal réservoir d’images dites d’archives dont se servent régulièrement les documentaristes contemporains pour faire « témoigner l’Histoire ». Retracer le parcours de Karmen permet de revenir aux sources de ces images, de comprendre leurs enjeux, leurs contextes de production et leurs rapports au sein d’une œuvre dont le récit se confond avec l’Histoire. Nous faisons ici l’hypothèse que ce récit constitué de prises de vues, d’actualités et de films documentaires est à l’origine « d’une vulgate soviétique de l’Histoire ». / With the study of Roman Karmen’s cinematographic work, we want to retrace a heritage and to identify its implications through an historiographical approach. Not only did the Soviet filmmaker’s images go down in history but they also contributed to shape the twentieth century into a single object. Indeed, the metonymic properties of Karmen’s shootings (cinematographic photography and live action) upset our perception and contributed to build an historical account that sustains a new order. It is a complex visual narrative bringing together live action and staging, subjects and emblems, main characters, secondary characters and anonymous masses. Disseminated, Roman Karmen’s work is the main reservoir of “archival images” often used by contemporary documentary filmmakers as a mean to present “first-hand History”. Following Roman Karmen’s artistic itinerary allows us to gain a better understanding of these images: their initial purposes, their making process, and their relationships in a work within which story merges with History. We assume that this narrative consisting of pictures, cinematic newsreels, and documentary films shaped the “Soviet vulgate of history”.

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