Esta pesquisa pode ser considerada um ensaio analítico a partir de questões de cunho filosófico que transbordam no documentário contemporâneo e encontram um diálogo muito fértil com a obra de Joel Pizzini. A nossa proposta é abordar a obra deste cineasta, especificamente o filme 500 Almas (2004) como inspiração para repensar o real, no documentário, enquanto uma questão de ponto de vista. Para tanto, torna-se necessário entender tal questão como um gesto de implicações mais profundas, comparativamente às teorizações cinematográficas e literárias acerca deste elemento. Trata-se, quiçá, de outra forma de conceber o ponto de vista no cinema, orientada pelo perspectivismo filosófico - pensamento presente nas reflexões de Leibniz, Nietsche, Deleuze e posteriormente assimilado pelo perspectivismo ameríndio com Viveiros de Castro - que amplia e reverbera o seu significado não se limitando à expressão ou fixação do ponto de vista de um sujeito autor. Trata-se da possibilidade acarretada pelo documentário, uma forma que é por pressuposto híbrida, de questionar, de produzir verdades, de repensar a distinção entre essência e aparência, entre real e invenção. Estas questões são problematizadas a partir de autores como Comolli e Guy Gauthier que pensam o documentário contemporâneo e as implicações de outros sujeitos e elementos envolvidos no filme que se faz em fricção com o real: a mise-en-scène dos sujeitos filmados, os sujeitos espectadores, a montagem criativa. Ao analisar o filme 500 Almas, observamos de que forma esses e outros elementos são engendrados para constituir o ponto de vista do real. / This research can be considered as an analytical essay from matter of philosophical that abound in contemporary documentary and find a very fruitful dialogue with the work of Joel Pizzini. Our proposal is to address the work of this director, specifically the film 500 Almas (2004) as inspiration for rethinking the real as a matter of the point of view. Therefore, it is necessary to understand this issue as a gesture of deeper implications, compared to cinematographic and literary theorizing about this element. It is, perhaps, another way of conceiving the point of view in cinema, guided by philosophical perspectivism - present thought the reflections of Leibniz, Nietzsche, Deleuze and subsequently assimilated by amerindian perspectivism with Viveiros de Castro - which expands and reverberates your meaning not limited to the expression or fastening point of view of an individual author. It brought about the possibility for the documentary, which is a form of hybrid assumption, to question, to produce truths, to rethink the distinction between essence and appearance, between real and invention. These questions are problematized from authors such as Comolli and Guy Gauthier who think contemporary documentary and implications for other subjects and elements involved in the film that is in friction with the real: the mise-en-scène of the subjects filmed, the subjects spectators, the creative mounting. When analyzing the film 500 Almas, we observe how these and other elements are interwoven to build the point of view of the real.

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T17:56:11Z (GMT). No. of bitstreams: 1 Braz_BeatrizNogueiradeLimaD'Angelo_M.pdf: 1145799 bytes, checksum: 6dfccd626955893285744da67e3fb1bc (MD5) Previous issue date: 2013 / Resumo: O presente trabalho propõe um estudo analítico de O Escafandro e a borboleta (Le Scaphandre et le papillont), 2007, de Julian Schnabel, baseado no livro homônimo e autobiográfico de Jean-Dominique Bauby. Esse estudo tem como objetivo analisar a forma com a qual o filme transpõe para o cinema a narrativa de Bauby, ao transformar a voz narrativa em primeira pessoa no olhar-câmera, que conduz o filme. Busca-se, assim, refletir sobre o ponto de vista no cinema, em especial sobre o plano ponto-de-vista, como forma de materializar em imagem o monólogo subjetivo e o confinamento que caracterizam as memórias de Bauby / Abstract: This piece aims to study and analyze the film adaptation of The Diving bell and the butterfly, 2007, directed by Julian Schnabel. Moreover, it intends to analyze how the film turns the narrative of Jean-Dominique Bauby¿s book into film by transforming the first person - the literary I in the book - into the camera, making the framing play a key role in the adaptation process. We seek to discuss and analyze point of view in the cinema, shedding light to the point of view shot, and how it made it possible to turn the subjective monologue and the sense of confinement that characterize Bauby¿s memoir into film / Mestrado / Multimeios / Mestra em Multimeios

Een van die fundamenteelste en belangrikste aspekte van 'n roman is die verteller. Die verhouding waarin die verteller tot die verhaalstof staan, die verteller se perspektief op die gebeure, die soort verteller en die manier waarop die verteller sy implisiete leser deur die organisasie van die verhaal definieer en betrek is almal bepalende faktore vir die struktuur, die styl en die ontwikkelingsgang van die roman. Joseph T. Shipley (1966:144) stel die saak so: "In die analysis of a speech or literary composition, nothing is more important than to determine precisely the voice or voices presented as speaking and the precise nature of the address (i.e. specific direction to a hearer, an addressee); for in every speech reference to a voice or voices and implication of address (i.e. reference to a process of speech, actual or imagined) is a part of the meaning, for the interpretation of which it supplies an indispensable control ".

[pt] A pesquisa centra-se na importância do conceito de Perspectivismo na filosofia de Gilles Deleuze. Procurando desarticular a forma-Sujeito, para Deleuze pontos de vista têm a ver com diferenças e não com identidades; a constituição não de sujeitos e objetos, mas de perspectivas ou pontos de vista. Em Deleuze, o perspectivismo não é a relatividade do verdadeiro, mas a verdade da relatividade. / [en] This research focuses on the importance of the concept of Perspectivism in Gilles Deleuze s philosophy. Trying to dismantle the Subject form, for Deleuze points of view have to do with differences rather than identities; not the constitution of subjects and objects, but perspectives or points of view. In Deleuze, perspectivism isn t the relativity of the true, but the truth of relativity.

A thesis report submitted in partial fulfilment of the requirement for the degree of Master of Arts in Media Studies to the Faculty of Humanities, University of the Witwatersrand, 2019 / This study examines contemporary representation and imaginings of the black South African family structure in a popular reality television programme, Date My Family. Further categorised in the sub-genre of reality dating television, the programme is also a significant study of the ways in which reality television values intersect with discourses about family, romantic partnering and romantic love. These are the three main themes that have been identified in Date My Family, and are all fundamental and significant social practices that will be explored in a critical discussion of dynamics in black South African families. This study aims to outline the ways in which Date My Family displays contemporary understandings of black identity in relation to the family structure, as well as how the programme either imagines or renegotiates traditional conceptions of family, romantic partnering and romantic love. The study’s examination of its three main themes is informed by literature that serves an introductory and contextual function. Subsequently, I apply theories of identity, race and representation. Using discourse analysis to focus on the visual and verbal discourses, I show that the programme displays significant cultural relevance and a representation of the social circumstances in which it is produced. Date My Family portrays instances in which Western/ European traditions and conceptions of family, romantic partnering and romantic love have been continued in the African context, how some of these traditions and conceptions co-exist with those of Africa, and how these traditions and conceptions have been renegotiated. The structure of the black South African family seems to remain in its traditional form – the extended unit - and notions of female-headed households and an absence of fathers in the family remain topics of representation in the current, local context. / NG (2020)

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Thesis describes leasing operations from accounting and tax point of view. It focuses on accounting and tax obligations of a lessor and a leaseholder. In the practical part it analysis leased assets of a chosen prague company.

(in English): The productions of language of the students learning Czech or other foreign languages may be evaluated in light of three criteria - the accuracy, the fluency and the complexity. The improvement of the quality of each of these can be influenced by a variety of factors, inter alia, personality of the student, the topic, the possibility to prepare before the production and so on, but also by student's language competence or the didactical methods used to reach this level of competence. In this master thesis, the main focus will be placed on the fluency, more precisely on the methods, which are contributing to its development; Rather than focusing on their effectiveness, the scrutiny will analyze the attitude of students as well as the teachers towards each of those methods. Also, we compare, how the preferred aspect (accuracy or fluency) influence the evaluation of the methods and, in the end, if and how the evaluation of the activities is being influenced by the students' level of language. Within questioning we obtained data from teachers and students of Czech as a foreign language. With them, we verified the role of the factors above for the respondends evaluations. Apart from that, we compared, in which measure the evaluations of students and teachers differ and we occupied with a...

The theme Point of View: David Lynch and intertextuality of this master thesis deals with the work of American film director David Lynch, which we view in terms of intertextuality. The aim is to show how David Lynch manipulates with intertextuality in his films Wild at Heart and Lost Highway and what other means he uses to achieve the specific atmosphere of his films. We say that it is impossible to unambiguously interpret Lynch's work and we will try to show that every of various points of view can be correct.