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Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-06-26T21:08:04Z No. of bitstreams: 1 Afonso Felipe Galdino L. Romagna.pdf: 10001045 bytes, checksum: a595b0558e4f73d74fb27ed044db8572 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-06-30T21:40:00Z (GMT) No. of bitstreams: 1 Afonso Felipe Galdino L. Romagna.pdf: 10001045 bytes, checksum: a595b0558e4f73d74fb27ed044db8572 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2017-07-05T19:22:36Z (GMT) No. of bitstreams: 1 Afonso Felipe Galdino L. Romagna.pdf: 10001045 bytes, checksum: a595b0558e4f73d74fb27ed044db8572 (MD5) / Made available in DSpace on 2017-07-05T19:22:57Z (GMT). No. of bitstreams: 1 Afonso Felipe Galdino L. Romagna.pdf: 10001045 bytes, checksum: a595b0558e4f73d74fb27ed044db8572 (MD5) Previous issue date: 2016-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The movie Cidade Mulher (1936), produced by Brazil Vita Filme from the actress Carmen Santos and directed by Humberto Mauro, has a soundtrack mostly composed by Noel Rosa. This project proposes to rescue this film, provided the disappearance of many films from the same period, since it includes several relevant elements that reflect social and cultural issues from that time, such as samba and Noel Rosa’s work, a fiction about Rio de Janeiro as the emblematic Federal Capital, the work from Humberto Mauro who had just accomplish considerable success with Favela dos meus Amores (1935) and Carmen Santos, enthusiastic producer and actress of national and popular works. The rescue of Cidade Mulher musical repertoire will be essential to the comprehension of the relation between image and sound and to the understanding of the connection of the plot with the cultural and social environment in which it is set. / O filme Cidade Mulher (1936), produzido pela Brasil Vita Filme, da atriz Carmen Santos, e dirigido por Humberto Mauro, possui trilha sonora composta em quase sua totalidade pelo sambista Noel Rosa. Em face do desaparecimento de inúmeros filmes desse período, como é o caso de Cidade Mulher, esse projeto se propôs a resgatar o filme que, acreditamos, incluiu vários elementos significativos que refletem questões sociais e culturais da época: o samba e a obra de Noel Rosa, uma ficção sobre o Rio de Janeiro a emblemática Capital Federal, o trabalho de Humberto Mauro que acabara de realizar um grande sucesso com Favela dos meus Amores (1935); e Carmen Santos, entusiasta produtora e atriz de temas nacionais e populares. O repertório musical foi imprescindível para esse resgate e para a compreensão da relação entre a imagem e o som, e o enredo em sua relação com a cultura e a sociedade no qual está imerso.

Le cinéma populaire indien est à la fois un lieu de création de mythes filmiques puissants et un univers qui interagit avec un autre corpus, celui des mythes et des épopées classiques, plus particulièrement le Ramayana et le Mahabharata. Si ces derniers ont souvent été l’objet d’adaptations, surtout dans les premières décennies du cinéma indien, le cinéma contemporain compose des rapports complexes et singuliers vis-à-vis des héros et de leurs hauts faits. Les mythes traditionnels surgissent au détour d’un plan, à la manière d’une résurgence morale, narrative et/ou formelle, tout comme – dans un mouvement inverse – le cinéma cherche ces mêmes mythes pour consolider son imaginaire. Ce travail sur les relations entre mythe et cinéma croise le champ de la politique et de l’Histoire. Les mouvements pour l’Indépendance, la Partition, les tensions intercommunautaires s’insinuent dans le cinéma populaire. La présence des mythes dans les films peut devenir une fixation esthétique des traumatismes historico-politiques. La difficulté de représenter certains actes de violence fait qu’ils viennent parfois se positionner de manière déguisée dans les images, modifiant irrémédiablement la présence et le sens des références mythologiques. Les mythes ne disent ainsi pas tout le temps la même chose. Ces résurgences mythologiques, qui produisent des mutations et des formes hybrides entre les champs politique, historique, mythique et filmique, invitent par ailleurs à un décloisonnement dans l’analyse de la nature et des supports des images. Ainsi, des remarques sur la peinture s’invitent dans le cours de la recherche aussi naturellement que des œuvres d’art contemporain, des photographies ou l’art populaire du bazar. Un champ visuel indien, large et métissé, remet en scène constamment des combinaisons entre l’arrière-plan et l’avant-plan, entre la planéité et la profondeur de champ, entre l’ornementation d’un décor et son abandon. Le cinéma populaire, traversé par la mémoire des mythes et des formes, devient le creuset d’un renouveau esthétique. / Indian popular cinema is both a place of filmic mythical creation and a universe interacting with previous bodies of work; the classical myths and epics, and especially the Ramayana and the Mahabharata. Although the latter have often been adapted, especially in the early decades of Indian cinema, contemporary cinema builds complex and attitudes towards heroes and their achievements. Traditional myths appear in a shot, in the manner of a moral, narrative and/or formal resurgence. In an opposite movement, this cinema seeks those same myths to strengthen its imagination. Working on the relations between myth and cinema, one has to cross the political and historical field, for Independence movements, Partition and inter-community tensions pervade popular cinema. Myths in movies can become an aesthetic fixation of historical-political traumas. The challenge of some representation of violent acts explain that they sometimes hide themselves in images, irreversibly altering the presence and meaning of mythological references. Therefore, myths don't always tell the same story. Those mythological resurgences, producing mutations and hybrid forms between the political, historical, mythical and film-making fields, also invite a de-compartmentalisation when we analyse the nature of the images and the mediums that welcome them. Our study naturally convenes notes on painting, as well as contemporary art, photography or bazaar popular art. A broad and mixed Indian visual field constantly recombines background and foreground, flatness and depth of field and ornemented and neglected sets. Popular cinema, moved by the memory of myths and forms, becomes the breeding ground of an aesthetic revival.

Made available in DSpace on 2016-04-26T18:17:54Z (GMT). No. of bitstreams: 1 Andre Nobrega Dias Ferreira.pdf: 68218833 bytes, checksum: 506a444be186d6c88bb3507d4a1d3fa2 (MD5) Previous issue date: 2009-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research has the subject the passage of popular comedy to a digital media using, as main focus, one comedian: Mazzaropi. It is not the simple digitalization of pictures, movies and another data, but also share new technologies with cultural memory, after of the recovery of data got from the prospection of spare materials, after the death of the comedian. The problem of the localization, of lost material and new ones, was the central ponit of the field research. Locate people who no one knows and get theirs speeach, was started from the personal history of the artist, and the cities where he was in the state of São Paulo, and others, place where there was material existece possibility. Once got, the material was used to built an envirolment whose the especific approach could get the comic behaveour as a condition of the navigation and creation of the inferface, based in the humoristic transposition into a interctive multimedia environment, doing a prototype. The problens concerned to the archiving made dificult the recovery of the artist s live memory. In the transposition to a modern media, it is also recovery the memory of a group, belonging to the caipira univers, who was his great movie audience. Rebuilt this memory, get an act of colect the material, share then to everyone, at least those who has computer access, to put togeter a imaginary of artistics and cultural praticies lost. The prototype wil beyond of the release of material. As a prize, it will operate to the users who won the obstacles of the envoronment, regulated for the agency based in the artist s humoristic actitude. In this momento, will happen the visualization of part of a circus performance remade from another one reccorded, recovering, inpart, the spacial tatility / O projeto de pesquisa e a realização desta tese têm como objetivo a passagem da comédia popular para um meio digital tendo como foco central um de seus representantes: Mazzaropi. Não se trata apenas da simples digitalização de fotos, filmes e dados diversos, busca-se também compatibilizar novas tecnologias com memória cultural, depois da recuperação de dados a partir dos achados obtidos pela garimpagem de materiais espalhados, depoisda morte do mesmo. O problema da localização, tanto de materiais perdidos quanto de inéditos, foi o ponto central da pesquisa de campo. Localizar pessoas de que se não tem notícias e colher seus depoimentos, além do desenvolvimento de um método de pesquisa que, partiu da história pessoal do comediante, abrangendo a cobertura de cidades em todo Estado de São Paulo, e até fora dele, onde houvesse real possibilidade de existência destes materiais. Uma vez recolhidos, foram usados na construção de um ambiente cuja abordagem específica fosse capaz de incorporar a atitude cômica do artista, condicionando toda essa navegação e criação de interface, baseada na construção humorística transposta para um ambiente multimídia interativo, produzindo-se um protótipo deste ambiente. Os problemas referentes ao arquivamento tornam difícil a recuperação da memória viva do comediante. Ao se trabalhar com sua obra e respectiva transposição para uma mídia moderna, recupera-se a memória de um grupo, pertencente ao universo caipira, este que constituiu um grande público nos cinemas. Reconstruir esta memória dispersa, constitui também o ato de colecionar o material reunido, disponibilizá-lo ao alcance de todos, ou pelo menos daqueles que têm acesso a um computador, vindo agregar a recuperação social e reafirmação de um imaginário de práticas artísticas e culturais esquecidas. O protótipo vai para além da mera distribuição de material. Como um prêmio, ele vai operar para os usuários que vencerem os obstáculos impostos pelo ambiente, regulados pela agência baseada na atitude humorística do artista. Ocorrerá então a visualização de parte de uma apresentação circense reconstituida a partir de uma performance executada por ele, recuperando-se, em parte, a tatilidade espacial

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Parmi les réalisateurs, producteurs et acteurs de Bombay, Raj Kapoor (1924-1988) est certainement l’un des plus célèbres et des plus originaux, qu’il s’agisse de son œuvre ou de sa personnalité. Sa vaste filmographie qui rassemble quelques-uns des plus beaux mélodrames du cinéma populaire hindi reste méconnue en France. Proches du peuple, ces mélodrames révèlent un phénomène présent dans différentes situations et sous différents aspects : le sentiment d’incompréhension.Ce travail de recherche, inspiré par la lecture de Peter Brooks et Stanley Cavell sur le mélodrame, se donne pour but de montrer que les mélodrames de Kapoor sont porteurs d’un concept particulier qui les unit et les définit comme un genre cinématographique propre que nous appellerons « mélodrame de l’incompréhension ». Le sentiment de ne pas comprendre ou d’être « mal compris » qui hante ces mélodrames se cristallise non seulement à partir des enjeux esthétiques, historiques, politiques et culturels mais aussi des événements personnels.S’appuyant sur l’esthétique du mélodrame, Kapoor multiplie la présence métaphorique du héros aveugle qui pointe la difficulté ou l’impossibilité de communiquer et fait grief à la société de ne pas le comprendre. Inscrivant sa souffrance dans un contexte plus large, le mélodrame kapoorien dépasse les frontières du drame intimiste pour s’élever au niveau du peuple, voire de la nation, selon certains auteurs. Pour amplifier le phénomène d’incompréhension, le mélodrame utilise le malentendu, la méprise, l’ignorance, la confusion, l’illusion, etc. au point que ces difficultés de communication paraissent très clairement représenter des éléments structurels marqués par la réflexion de Kapoor sur l’incompréhension, teintée de mélancolie et de tristesse. / Among Bombay’s directors, producers and actors, Raj Kapoor (1924-1988) is certainly one of the best known and most original both for his work and for his personality. His vast filmography which constitutes a collection of some of the most beautiful melodramas of Hindi popular cinema remains virtually unknown in France. Close to the people, these melodramas reveal a theme which is universally present, illustrated in a variety of situations and different lights. It is the phenomenon of incomprehension.The present work, inspired by a reading of Peter Brooks and Stanley Cavell on the subject of melodrama, aims to show that Kapoor’s melodramas treat this specific theme which unites them and allows them to be defined as a distinct cinematic genre here termed "melodrama of incomprehension." The feeling of inability to understand or of being misunderstood which haunts these melodramas is gleaned not only from aesthetic, historical, political and cultural subjects but also from personal experience.Drawing on the aesthetics of melodrama, Kapoor multiplies the metaphorical presence of the blind hero illustrating the overwhelming difficulty of communication, and blames society for a lack of understanding. Extending the resulting suffering to a wider context, Kapoor’s melodrama transcends the bounds of individual drama, reaching out to the level of the people as a whole, indeed to the entire nation according to some authors. To amplify the phenomenon of incomprehension, his melodrama uses misunderstanding, scorn, ignorance, confusion, illusion, and more. Kapoor does this to a point at which these difficulties of communication clearly represent identifiable structural elements in his portrayal of incomprehension imbued with melancholy and sadness.

Dans ce mémoire, nous étudions les productions bollywoodiennes issues de la foisonnante industrie du film de Mumbai. Nous explorons la forme populaire que ce cinéma propose et la nouvelle tendance qui émerge dans les années 1990, à travers laquelle se développent des représentations liées à la nouvelle classe moyenne indienne. Cette étude cherche à interroger les films les plus populaires des années 1990 afin de comprendre comment ils déploient leurs narratifs et leur narration. En procédant à des analyses descriptives et poétiques des récits, l’étude est principalement préoccupée par le traitement de la romance, un thème majeur de cette décennie. À travers ce thème, nous analysons les motifs narratifs, les procédés stylistiques, les détours de l’expression des sentiments ainsi que les dynamiques entre les sphères privée, publique et familiale. Essentiellement, nous mettons en lumière comment la distribution des informations narratives place le spectateur dans une position privilégiée organisant les plaisirs de sa participation aux films bollywoodiens. / In this dissertation, we study Bollywood productions from the prolific Mumbai film industry. We explore this popular cinema’s form and the new trend that appears in the 1990s, through which representations related to the new Indian middle-class are developed. In this study, we interrogate the most successful films of the 1990s in order to understand how they deploy their narratives and their storytelling. Proceeding to descriptive and poetical analysis of their narratives, this study is mainly concerned with the treatment of romance, a major theme of this decade. Through this theme, we analyze narrative patterns, stylistic processes, obliquely expressed feelings and the dynamics of the private, public and family spheres. Essentially, we illustrate how the distribution of narrative information situates the spectator in a privileged position organizing the pleasures of his participation in Bollywood movies.

Dans ce mémoire, nous étudions les productions bollywoodiennes issues de la foisonnante industrie du film de Mumbai. Nous explorons la forme populaire que ce cinéma propose et la nouvelle tendance qui émerge dans les années 1990, à travers laquelle se développent des représentations liées à la nouvelle classe moyenne indienne. Cette étude cherche à interroger les films les plus populaires des années 1990 afin de comprendre comment ils déploient leurs narratifs et leur narration. En procédant à des analyses descriptives et poétiques des récits, l’étude est principalement préoccupée par le traitement de la romance, un thème majeur de cette décennie. À travers ce thème, nous analysons les motifs narratifs, les procédés stylistiques, les détours de l’expression des sentiments ainsi que les dynamiques entre les sphères privée, publique et familiale. Essentiellement, nous mettons en lumière comment la distribution des informations narratives place le spectateur dans une position privilégiée organisant les plaisirs de sa participation aux films bollywoodiens. / In this dissertation, we study Bollywood productions from the prolific Mumbai film industry. We explore this popular cinema’s form and the new trend that appears in the 1990s, through which representations related to the new Indian middle-class are developed. In this study, we interrogate the most successful films of the 1990s in order to understand how they deploy their narratives and their storytelling. Proceeding to descriptive and poetical analysis of their narratives, this study is mainly concerned with the treatment of romance, a major theme of this decade. Through this theme, we analyze narrative patterns, stylistic processes, obliquely expressed feelings and the dynamics of the private, public and family spheres. Essentially, we illustrate how the distribution of narrative information situates the spectator in a privileged position organizing the pleasures of his participation in Bollywood movies.