Made available in DSpace on 2016-04-26T18:10:22Z (GMT). No. of bitstreams: 1 Elen Cristina Souza Koch Vaz Doppenschmitt.pdf: 2913553 bytes, checksum: c2e05836bb43211b9aa38c1145f9faa5 (MD5) Previous issue date: 2010-10-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / We have analyzed the Cuban movie Memories of Underdevelopment (1968), by Tomás Gutiérres Alea, based on the homonymous novel by Edmundo Desnoes (1965) in an attempt to understand its revolutionary character. Throughout the study of the movie s critical fortune, we have found many works of historical perspective, whose analysis, though efficient in detailing the movie s context of production, repeat themselves when interpreting the aesthetical procedures in use. As for the revolutionary character, the concept was examined considering the historical frameworks, social temporalities and political specificities, putting the communicative mediations between public and means (Barbero, 2002) into evidence; for that, not only the movie, but also the author s theoretical essays and the analysis of his belonging to the Nuevo Cine Latinoamericano and the ICAIC were considered. As an act of translation of the literary work, we have understood that the movie amplify the meanings of the previous work and leaving concepts such as fidelity or original aside. We have tried to understand how the intertextuality and the dialogism present in the work operate through certain aesthetical strategies, so that a cultural interpretation of the work would be possible (Stam, 2008). It is through the complementarity of the aesthetical procedures used in each of the means of artistic expression (the self-referentiality in the novel and the collage in the movie) that we achieve a better understanding of what is encrypted in this narrative about the revolution, whose protagonist (writer) is the figuration of the intellectual who questions his role in face of the new reality. In the movie, the subjectivity of the narrative loses its legitimacy at the same time that other points of view are offered, making a new relation between spectacle and audience, by the means of the identification-distanciation game. Supported by Branigan (1984), to whom this game is understood by the modulation of the looks and voices which inform the reality, we have observed the ways in which the audience transits throughout the points of view of the character of the narrative authority. When emphasizing the role of the voice in the destabilization of the point of view , we have shown how the deconstruction of the voice-over s authority has taken place in the movie, by focusing on popular oral and media texts. For that, we have done a mapping of the voices in Memories in order to build analysis categories; those categories reflect the comparison with the main theories on the voice in the cinema, (CHION, DANEY, BONITZER, GODREAULT & JOST, METZ), as well as with the theories on orality. (ZUMTHOR, MESCHONNIC). Therefore, we have concluded that the uses of the voice (in, off, over, voix-je), the voice as sound landscape and voice texts (poems, songs, oratory ) are worked in order to potentialize the voice for political effects / Analisou-se o filme cubano Memórias do Subdesenvolvimento (1968) de Tomás Gutiérrez Alea baseado no romance homônimo de Edmundo Desnoes (1965) tentando compreender seu caráter revolucionário. No levantamento da fortuna crítica do filme encontrou-se muitos trabalhos de perspectiva histórica, cujas análises, se bem são eficazes para esmiuçar o contexto de produção da obra, repetem-se quanto à interpretação sobre os procedimentos estéticos empregados. Quanto ao caráter revolucionário , o termo aqui foi examinado considerando as matrizes históricas, temporalidades sociais e especificidades políticas e colocando em evidência as mediações comunicativas entre público e meios (BARBERO, 2002); para isso considerou-se não apenas o filme, mas os ensaios teóricos do autor e análise de seu pertencimento ao Nuevo Cine Latinoamericano e ao ICAIC. Enquanto operação tradutória da obra literária, entendeu-se que o filme amplia os sentidos da obra anterior, deixando de lado termos como fidelidade ou original. Buscou-se compreender como a intertextualidade e o dialogismo presentes operam por meio de certas estratégias estéticas de modo que uma interpretação cultural da obra fosse possível (STAM, 2008). É por meio da complementaridade dos procedimentos estéticos utilizados em cada um dos meios de expressão artística (a autorreferencialidade no romance e a colagem no filme) que melhor se compreende o que está cifrado nessa narrativa sobre a revolução, cujo protagonista (escritor) é figuração do intelectual que questiona sua função diante da nova realidade. No filme, a subjetividade do relato perde sua legitimidade na medida em que outros pontos de vista são oferecidos, criando uma nova relação espetáculo-espectador mediante o jogo de identificação e distanciamento. Apoiando-se em Branigan (1984), para quem este jogo é compreendido por meio da modulação dos olhares e das vozes que informam a realidade, observou-se de que modo o espectador transita pelos pontos de vista do personagem e da autoridade narrativa. Ao enfatizar o papel da voz na desestabilização do ponto de vista , mostrou-se como se efetua no filme a desconstrução da autoridade da voz over ao colocar ênfase nos textos orais populares ou mediatizados. Para isso realizou-se um mapeamento das vozes em Memórias a fim de construir categorias de análise; estas refletem tanto o cotejo com as principais teorias sobre a voz no cinema (CHION, DANEY, BONITZER, GODREAULT & JOST, METZ) quanto com as teorias da oralidade (ZUMTHOR, MESCHONNIC). Desse modo, concluiu-se que os estados da voz (in, off, over, voix-je), a voz enquanto paisagem sonora e os textos da voz (poemas, canções, oratória...) são trabalhados de modo a potencializar a voz para efeitos de alcance político

Mais do que investigar algumas das relações possíveis entre a pintura e a fotografia, esta pesquisa tem como objetivo criar uma reflexão sobre a minha produção pictórica que estende-se desde o período da minha graduação e segue adiante, explorando os aspectos que permeiam o trabalho - as questões relativas à história da arte; os parques de diversões sob diferentes aspectos; a imagem automatizada e suas características, especialmente no contexto da tecnologia digital disponível no início do Século XXI. / Besides investigating the possible relations between painting and photography, this research work intends on creating a reflection about my pictorical production which began on my graduation years and keeps going on, exploring aspects related to the work - questions related to Art History; amusement parks through their different aspects; automated image and its characteristics, specialy on the context of digital technology available at the beginning of the 21st Century

O presente trabalho analisa dois momentos na obra do grupo de rap paulistano Racionais Mc´s. O primeiro momento, de 1990 a 1993, estrutura um modo de crítica que se caracteriza pelo tom denuncista, assemelhado ao tom professoral, no enfoque das composições, cujo ponto de vista dos raps não se constrói a partir da periferia, mas deslocado, pretensamente acima dela, em razão da posição em destaque do rapper nesse espaço social. Já o segundo momento, a partir dos raps Fim de semana no parque e Homem na estrada, do álbum Raio X do Brasil (1993), é marcado pela superação do ponto de vista professoral, pois as composições formalizam a perspectiva do morador de periferia, cujo resultado estético não só olha para a periferia, mas partir desse espaço social. / The present work focus on and analyses two moments in the work of São Paulo rap group Racionais MC\'s. The first of these moments, from 1990 to 1993, structures a critical mode that singularizes itself by an accusatory, rather preachy, tone in the artistic approach developed by the compositions. Its point of view does not builds itself from the peripheral world, but is displaced as if above it, due to the rapper\'s outstanding position in that social space. The second moment, starting with the raps \"Weekend in the park\" (\"Fim de semana no parque\") and \"The man in the road\" (\"Homem na estrada\"), from the Raio X do Brasil album (1993), overcomes that preachy tone, as the aforementioned compositions formalize the peripheral resident\'s perspective, the aesthetic result of which does not only look at the periphery, but from that social space.

In recent years, the utilization of 3D display systems became popular in many application areas. One of the most important issues in the utilization of these systems is to render the correct view to the observer based on his/her position. In this thesis, we propose and implement a single user view rendering system for autostereoscopic/stereoscopic displays. The system can easily be installed on a standard PC together with an autostereoscopic display or stereoscopic glasses (shutter, polarized, pulfrich, and anaglyph) with appropriate video card. Proposed system composes of three main blocks: view point detection, view point tracking and intermediate view reconstruction. Haar object detection method, which is based on boosted cascade of simple feature classifiers, is utilized as the view point detection method. After detection, feature points are found on the detected region and accordingly they are fed to the feature tracker. View point of the observer is calculated by using the tracked position of the observer on the image. Correct stereoscopic view is, then, rendered on the display. A 3D warping-based method is utilized in the system as the intermediate view reconstruction method. System is implemented on a computer with Pentium IV 3.0 GHz processor using E-D 3D shutter glasses and Creative NX Webcam.

The intention of my studies is to explore the field of musical learning from the pupil's point of view. This master thesis is the second of two Grounded Theory studies based on interviews.In study no1 Learning of music from the pupils' point of view (Pemsel, 2009) I asked ten pupils, soon to be graduates, to express their own experience of musical learning. The selection of informants was made after reading a questionnaire an- swered by a group of 60 pupils attending different programs at a typical Swedish upper secondary school. The ten selected informants had all chosen several music courses their latest years in school. The questionnaire had two purposes; one was to construct musical profiles of the pupils, the other was to select informants for the interviews. The pupils were asked how much, and what kind of music educa- tion they had experienced. They were also asked to describe good and bad memo- ries of music education. The selected informants had all chosen to attend several music courses in their final years at school. They had in the questionnaire shown that they could express themselves in terms of learning music, and also that they had both positive and negative memories of musical learning environments. The most interesting findings in the first study were the personal navigation and the different choices the pupils made during their way towards musical learning. They learned music in a way that could be compared to the balls movements in a "flipper game", changing directions aiming to find knew musical knowledge. This was all illustrated in The Map of Musical Learning.In study no 2 Music and learning, young adults perspective of music education, I interviewed five post pupils 19-25 years old. They had as pupils chosen to learn something else other than music in upper secondary school. To select informants the so-called "snowball method" was used. A web questionnaire was made in purpose to profile the informants. "The Map of Musical Learning" was used to create an equal dialogue in the interviews. During the interview the Informants were asked to construct their own maps, and explain what that picture symbolised in their lives. In study no 2 I've been looking for answers on the following ques- tions; –What are pupils’ views on music and learning, and on what grounds do students select other courses over music? The results showed that not choosing music could be an active choice toward other interests. The choice not to continue taking music lessons was due to different levels (depending on informant) of neg- ative experiences. Some informants had good experiences of expressing them- selves in other art forms, but not in music. Others didn’t need music teachers; they were experienced and could learn on their own. From pupil's point of view music education could be improved, but the beginner and the experienced music pupil expressed different needs of teaching methods. They all felt that they were not surveyed how they wanted to learn music.

Cette thèse a pour objectif d’expliquer pourquoi l’insertion de comptes-rendus de perception ou CRP dans un fragment narratif, lorsqu’elle entraîne une rupture dans la progression thématique de ce fragment, ne compromet pas sa compréhension.Les études narratologiques (Hamon, Adam et Petitjean) définissent les textes descriptifs comme des séquences qui se caractérisent par des marqueurs d’introduction et de clôture corrélés. Les études sur l’accès cognitif à l’information (Vogeleer) montrent, par ailleurs, que les CRP décrivent une situation accessible dans la situation spatio-temporelle d’un sujet. Ce sont des énoncés thétiques qui se caractérisent par leur absence de thème (Furukawa). A l’écrit, le contexte gauche d’un CRP peut compenser son absence de thème en décrivant une situation qui permet d’inférer le lieu cible de perception (Emma s’approcha de la fenêtre) d’un sujet introduit en amont. Les énoncés de ce type sont ainsi apparentés au DIL.La classification d’un corpus de CRP intégrant les noms fenêtre(s) et porte(s), nous a conduit à distinguer six types de CRP parmi lesquels les séquences de compte rendu de perception indirect libre ou CRPIL sont les plus fréquentes. Dans ces séquences, lorsque le premier CRP de l’extrait n’a aucun lien avec son contexte gauche, il décrit une situation perçue accessible dans la situation spatio-temporelle du sujet qui la perçoit, qui est donc inédite jusqu’à son introduction dans le monde fictif. La coïncidence spatio-temporelle entre le sujet et cette situation peut être dénotée dans certains extraits par un SP spatial ou temporel antéposé dans le premier CRP de la séquence et potentiellement cadratif (Charolles). Ce SP signale le point de vue du sujet introduit en amont, dénote le lieu cible ou la localisation temporelle de la situation décrite dans le CRP et permet d’interpréter tous les CRP de la séquence. Dans les extraits ne mentionnant pas de SP, le lieu cible et le temps de la situation perçue sont inférés dès l’introduction du premier CRP, cette inférence validant tous les CRP de la séquence. La rupture topicale suscitée par l’introduction des CRP signale, dans tous les cas, l’émergence du point de vue d’un personnage introduit en amont. / The aim of this thesis is to explain why the inclusion of perceptual reports (PRs) in a literary narrative does not interfere with the comprehension of such narratives, despite when breaking their thematic progression.Narratological studies (Hamon, Adam and Petitjean) define descriptive texts as sequences characterised by correlated introductory and closing markers. Furthermore, research on evidentiality (Vogeleer) shows that PR describe a situation that is accessible in the space/time situation of a subject. PRs are thetics statements characterised by a lack of topic (Furukawa). In the written form, the left context of the PR may make up for the lack of topic by describing a situation that may be used to infer the place targeted by the perception (Emma s’approcha de la fenêtre) of a subject introduced earlier. Statements of this type are thus similar to represented speech and thought or RST.The classification of a corpus of PRs incorporating the nouns fenêtre(s) and porte(s), leads us to distinguish six PRs types among which represented perceptual reports (RPRs), are most frequent. In these sequences, when the first PR of the excerpt has no link to its left context, it describes a perceived situation accessible in the spatial/temporal situation of the subject that perceives it, which is therefore unknown until introduced into the fictitious world. The spatial and temporal coincidence of the subject and this situation may be noted in certain excerpts by a spatial or temporal prepositional phrase (PP) that is placed earlier in the first PR of the sequence and that is potentially framing (Charolles). This PP signals the point of view of the subject introduced earlier, denotes the target location or temporal location of the situation described in the PR and makes it possible to interpret all the PRs in the sequence. In the excerpts that do not mention a PP, the target location and time of the perceived situation are inferred once the first PR is introduced, with this inference validating all perceptual reports in the sequence. The topical break caused by the introduction of PRs signals, in all cases, the emergence of the point of view of a character introduced earlier.

Ce travail est de une tentative de réponse à la question cruciale formulée en son temps par Paul Valéry : « mais au fait, qui parle dans un poème ? », à partir d’une étude audio-critique de la trajectoire complète de Pablo Neruda (1904-1973). Quarante-trois recueils et plus de cinq cents poèmes seront ainsi convoqués au cours de cette thèse dont le point de départ est le suivant : s’il est communément admis que la voix, en poésie, est un indescriptible inaudible qui est et n’est pas, la voix nérudienne propose elle une évolution cohérente vers une plus grande sonorité. La voix nérudienne est bien un effet de présence issu d’une absence. Elle est bien dotée d’inflexions dont les silences a priori sonores dessinent un ontorythme qui en ferait une voix presque humaine. / This dissertation is an attempt at answering a crucial question that Paul Valéry once asked: “by the way, who is speaking in a poem?” This study is based the complete works of Pablo Neruda (1904-1973) analysed from an audio-critical point of view, with forty-three collections of poems under scrutiny. The assumption at the core of this dissertation is that, although it is generally defined as something indescribable and inaudible that is and is not that the same time, the nerudian voice offers a coherent evolution towards more perceptible sonority, a more perceptible sound pattern. The nerudian voice is indeed a form of presence resulting from absence. It is endowed with inflections and a priori audible silent moments that create an ontorhythm, turning it into an almost human voice. Like the human voice, the poematic voice went through a series of evolutions and mutations that need to be reflected upon.

A relação entre razão e direito faz parte da tradição do pensamento ocidental. No período moderno, essa relação serviu de base para o surgimento de uma cultura jurídica autônoma, dentro da qual foram elaboradas as idéias de sujeito de direito e sistema jurídico. No entanto, a modernidade também criou condições para o nascimento das chamadas teorias jurídicas, que se constituem como uma nova forma de discurso jurídico, distinta das teorias filosóficas e das dogmáticas jurídicas, por não manifestarem o modelo de racionalidade tradicional, associado à concepção de lei natural. Para compreender a racionalidade nesse novo âmbito do discurso dos juristas, é proposto, nesta tese de doutoramento, um caminho peculiar: por um lado, tomam-se por objeto teorias jurídicas que se tornaram referência no contexto anglo-saxônico, ou seja, fora dos marcos habituais da racionalização na Europa continental moderna; por outro lado, são considerados como fio condutor para esta investigação os enfoques interpretativos construídos como legítimos por essas teorias, em vez de configurar sua racionalidade a partir de divisões escolares ou matrizes epistemológicas. Essa delimitação permite revelar três modelos novos e distintos de racionalidade jurídica, que resultam do desenvolvimento de diferentes concepções de pontos de vista no contexto do debate entre as teorias jurídicas de John Austin, Oliver W. Holmes Jr., Hans Kelsen, Herbert L. A. Hart, Robert Alexy e Ronald Dworkin. Esses três modelos, por sua vez, contribuem para ressaltar os limites heurísticos da contraposição positivismo vs. antipositivismo para tratar da racionalidade no direito contemporâneo. / The relation between reason and law is part of the Western thought tradition. In the modern period, this relation served as basis for the emergence of an autonomous legal culture, within which the ideas of \"subjects of law\" and \"legal system\" were elaborated. However, modernity has also created conditions for the birth of the so-called legal theories, which were constituted as a new form of legal discourse (distinct from the legal dogmatics and philosophical theories of law), for they do not present the traditional model of rationality associated with the conception of natural law. A peculiar method is proposed in this doctoral thesis, in order to understand the rationality in this new sphere of legal discourse: on the one hand, legal theories which have become reference within the Anglo-Saxon world i.e., theories outside the usual landmarks of rationalization in modern continental Europe are taken as object; on the other hand, the interpretive approaches (focuses) formulated as legitimate by these theories are considered as expressions of rationality, instead of rationality as originated from divisions by schools of thought or epistemological matrices. By means of this method, three new distinct models of legal reasoning are revealed. These models are the outcome of different concepts of \"point of view\" which were defended throughout the dialogue which took place between the theories of John Austin, Oliver W. Holmes Jr., Hans Kelsen, Herbert L. A. Hart, Ronald Dworkin and Robert Alexy. These three models, in turn, contribute to highlighting the heuristic limits of the opposition legal positivism vs. non-positivism in the debate over rationality in contemporary law.

O argumento cinematográfico para um filme de longa-metragem ficcional é tema central da presente dissertação. Para tal, foi realizada uma pesquisa baseada em dois eixos. O primeiro, o tema do filme (a relação entre os universos feminino e masculino na faixa de meia-idade no Brasil urbano contemporâneo); o segundo, a abordagem cinematográfica (representações da subjetividade no cinema). No século XX, enormes transformações colocaram a mulher em um novo lugar no tecido social. O homem contemporâneo viu seu lugar histórico ser abalado por essas transformações e ainda não se reposicionou. O descompasso entre feminino e masculino colocou num terreno de imensa dificuldade o relacionamento de casal, hoje pouco normatizado por regras sociais. Este tema é tratado em Joana do ponto de vista subjetivo da personagem principal. Na linguagem cinematográfica, a subjetividade, concebida como um nível específico da narração, compartilha com o espectador os olhos e ouvidos do personagem, e/ou o mergulho em sua mente. Algo para além do formal é necessário para que um filme expresse alto grau de subjetividade do personagem. Esta pesquisa examina alguns longa-metragens contemporâneos, localizando como é representada a subjetividade: o ponto de vista ótico, o comportamento do personagem, a expressão do mundo interno, a linguagem. É realizada uma incursão na literatura que compara o monólogo interior à voz dos pensamentos dos personagens no cinema e discrimina outras atividades mentais que no cinema podem ter outras representações além da palavra. As necessidades específicas de expressão dessa história, focalizada pela personagem principal, provoca a discussão sobre a forma da escrita do argumento e roteiro cinematográfico. São examinados textos de Sergei Eisenstein que tratam de estratégias para escrever roteiros, em que a emoção é privilegiada. Busca-se um formato específico para o argumento cinematográfico desta história. Circunscreve-se um campo de representações da subjetividade para o argumento em questão. Apresenta-se o argumento em seu sétimo tratamento. / Treatment for a fictional long-feature film is the central theme of the present dissertation. Research was conducted based on two axes: the first on film theme (the relation between middle-aged males and females living in urban areas of Brazil nowadays); the second on film language (representations of subjectivity in film). The 20th Century saw huge changes with women taking a new place in social life. As a result, contemporary men saw their historic place unsettled and have not yet repositioned themselves. The mismatch between the new male and female social positions brought great difficulties to relationships, which nowadays are regulated by very few social standards. This theme comes up in Joana through the main characters subjective point of view. In film language, subjectivity, conceived as a specific level of narration shares with the viewer the characters eyes and ears, and/or allows the viewer to get right inside the characters mind. Something beyond the merely formal is required for a film to express high levels of character subjectivity. This research examines some contemporary fiction films, analyzing how subjectivity is represented: the optical point-of-view, characters behavior, expressions of characters inner world, characters speech. A literature review compares inner monologue to how characters thoughts are depicted in film. It also discriminates between other mental activities that can be better expressed in film by different representations other than words. The specific expression needs of this story, based on the focal character, bring on the discussion of script and film treatment writing formats. Sergei Eisensteins writings dealing with screenwriting strategies to privilege emotion are examined. A specific format for the film treatment of this story is searched. A range of representation of subjectivity for this film treatment is defined. The seventh draft of the film treatment is presented.

Aspecto central no documentário brasileiro contemporâneo, a valorização da experiência do outro como vivência singular faz com que voltemos os olhos e os ouvidos ao homem comum, às expressões individuais, às formas particulares com que os indivíduos ordenam seu estar no mundo. Estruturados prioritariamente por um encontro entre sujeitos, esses filmes podem apresentar uma composição da alteridade que não se reduza às configurações de um \"indivíduo típico\", assim como às de um \"outro absolutizado\". Instiga-nos, nas modulações dessa relação, apreender um ponto de vista que se a(u)toriza no documentário, engendrando um espaço de autoria: ao mesmo tempo em que se inscreve na cena, organiza o filme como discurso, pela distribuição das formas de ver e ouvir o outro - panorama em que se tornam apreensíveis as condições que dão forma ao encontro. A análise da autoria no documentário contemporâneo, conforme propomos, considera os condicionantes históricos que o compreendem como gênero discursivo, ao mesmo tempo em que suscita a investigação dos efeitos de singularidade apreensíveis nos filmes, que remetem a um nome de autor. Sob conformações estéticas específicas, delineiam-se lugares de autoria que, pela especificidade do documentário como prática social, não são alheios a uma determinação ética: aquela que se estabelece quando, postos em relação, sujeito da câmera e sujeito para a câmera tornam-se interdependentes, dimensão em que, no encontro com o outro, faz-se do próprio sujeito um outro. Propomos uma análise inter-relacionada, distribuída em três capítulos, dos documentários Nós que aqui estamos por vós esperamos (1999), de Marcelo Masagão; Santiago (2007), de João Moreira Salles; e Pacific (2009), de Marcelo Pedroso; A pessoa é para o que nasce (2005), de Roberto Berliner; Estamira (2006), de Marcos Prado; e Garapa (2009), de José Padilha; Santo forte (1999), de Eduardo Coutinho; A falta que me faz (2009), de Marília Rocha; e O céu sobre os ombros (2010), de Sérgio Borges. / Main aspect in contemporary Brazilian documentaries, the appreciation of the experience of the other as a unique existence forces us to see and listen to the ordinary man, to the individual expressions, to the particular ways in which individuals organize their modes of being-in-the-world. These movies, when primarily structured by an encounter between subjects, present a conception of alterity that is not restricted to the configurations of a \"typical individual\", as well to the \"absolutized other\". In the modulations of this relationship, we aim to understand a point of view that authorizes (actorizes) itself in the documentary, engendering a space for the authorship: at the same time it is registered in the scene, it organizes the movie as a discourse, through the distribution of the forms of seeing and listening the other - creating a panorama in which the conditions that shape the encounter become apprehensible. The analysis of the authorship in contemporary documentaries, as we propose, considers the historical coercions of the discourse genre, at the same time it investigates the singularities of the movies, concerning the name of the author. Under specific aesthetic conformation, some places of authorship are outlined, which, due to the specificity of the documentaries as social practices, are not unconcerned to an ethical determination: the one that is established when the subject of the camera and the subject to the camera become interdependent, and in the encounter with the other, the subject himself becomes the other. We propose an interrelated analysis, which is distributed in three chapters, of the Brazilian documentaries Nós que aqui estamos por vós esperamos (1999), by Marcelo Masagão; Santiago (2007), by João Moreira Salles; and Pacific (2009), by Marcelo Pedroso; A pessoa é para o que nasce (2005), by Roberto Berliner; Estamira (2006), by Marcos Prado; and Garapa (2009), by José Padilha; Santo forte (1999), by Eduardo Coutinho; A falta que me faz (2009), by Marília Rocha; and O céu sobre os ombros (2010), by Sérgio Borges.