"Gar Demia", es un documental que aborda el viaje de un paciente recién diagnósticado con la enfermedad de la Psoriasis, enfermedad inflamatoria y crónica de la piel, de origen autoinmune; en él se muestra desde mi perspectiva cómo voy encontrando personas en el camino que cuentan con el mismo diagnóstico, así mismo, se van presentando sus testimonios y dificultades de vivir con la enfermedad por el tiempo que lo lleven haciendo. / Trabajo de suficiencia profesional

Howard Barker fait ses armes de dramaturge en composant en 1971 une pochade sur Henry V de Shakespeare et signe trente ans plus tard l’un de ses textes les plus aboutis avec Gertrude – The Cry, variation sur le thème d’Hamlet. À la faveur de ces réécritures et de quelques autres (notamment Seven Lears en 1989), décrire le dramaturge contemporain comme le « Shakespeare de notre époque », expression attribuée à Sarah Kane, s’est rapidement imposé comme un lieu commun, relayé tant par la presse que par la critique. Pourtant, en dépit de certaines caractéristiques communes, leurs œuvres apparaissent d’abord comme radicalement différentes, ne serait-ce qu’en raison du statut marginal que Barker occupe au sein du paysage théâtral anglais. Dès lors, si Shakespeare se manifeste dans son œuvre, ce sera sous une forme altérée, méconnaissable, transformée, autrement dit sous forme de spectres. Pourquoi l’œuvre de Barker a-t-elle suscité de façon si insistante la comparaison à celle de Shakespeare ? Et que révèle cette comparaison, non seulement de la pratique critique, mais surtout des enjeux poétiques du théâtre de Barker ? Cette étude s’efforce de répondre à ces questions en examinant d’abord les modalités d’élaboration de l’œuvre de Barker, et la manière dont celle-ci place le spectre, figure majeure du doute, au cœur de son esthétique. Elle se penche ensuite sur les critères qui ont pu justifier le rapprochement entre les deux dramaturges, notamment l’histoire et l’écriture, pour montrer que Shakespeare est toujours convoqué sur le mode paradoxal du leurre, modèle avancé pour être mieux rejeté. De la sorte, elle essaie de dégager non pas les traits que partagent les deux dramaturges, mais la manière dont Barker tente d’exorciser la présence étouffante du dramaturge élisabéthain en élaborant une poétique singulière. / From his earliest efforts to his latest and most accomplished plays, Howard Barker has often confronted Shakespeare, be it with his irreverent parody of Henry V in Henry V in Two Parts (1971) or with his variations on Hamlet in Gertrude – The Cry (2002). These rewritings, along with some others (notably Seven Lears in 1989) have prompted many, both in the media and in academia, to call him, as Sarah Kane allegedly did, “the Shakespeare of our age”. In spite of a number of common features, their works do however appear as radically different, if only because of Barker’s marginal status within the landscape of contemporary English drama. If Shakespeare manifests himself in Barker’s work, it will therefore be in an altered and possibly unrecognizable form, in other words as a spectre. Why is it that Barker’s work has been so insistently compared to that of Shakespeare? What does this comparison reveal both about critical practice and about the aesthetics of Barker’s theatre? In order to answer these questions, this dissertation first examines the overall design of Barker’s work and the way in which it endeavours to place the figure of the ghost, as an embodiment of doubt, at its core. It then moves on to consider the criteria that have been invoked to draw a parallel between both playwrights, especially their focus on history and poetic writing as the basis of drama, to show how Shakespeare is always paradoxically summoned as a lure, an empty model that both suggests and contradicts modes of interpretation. In doing so, it strives to bring out not the traits shared by both playwrights but Barker’s effort to thwart the haunting and overwhelming presence of Shakespeare by giving birth to his own original voice.

Out of Date chronicles the filmmaker's personal journey as she tries to untangle her mixed feelings on singlehood and romance, and turns to the older generation for advice, tales of love and stories of success or failure. The documentary links and contrasts different generations' experiences in love and dating. Also, the film deals with loneliness, commitment, gender differences, and social and cultural practices of love and dating.

Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.

Orientador: Celso Luiz Figueiredo Bodstein / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem e Laboratório de Estudos Avançados em Jornalismo / Made available in DSpace on 2018-08-27T09:24:37Z (GMT). No. of bitstreams: 1 Duarte_CristianeDelfinaSantos_M.pdf: 52168426 bytes, checksum: 9696051ddf4abd8b9ea024d046b5b080 (MD5) Previous issue date: 2015 / Resumo: O presente trabalho busca a construção, em audiovisual e em texto, do perfil da arqueóloga Niéde Guidon, pesquisadora premiada e condecorada internacionalmente. Atualmente com 82 anos, Niéde é neta de franceses e de um casal de militar brasileiro com índia Kaingang. Ela tem sido uma forte atuante em pesquisas e ações sociais na região do sudeste do Piauí desde 1973, quando visitou pela primeira vez sítios arqueológicos de pinturas rupestres encontrados por moradores da área, que a levaram, então, à formação da primeira missão Franco-Brasileira de pesquisas e, posteriormente, do Parque Nacional Serra da Capivara e da Fundação Museu do Homem Americano. Com a captação em vídeo de mais de dez horas de entrevistas diretas com a pesquisadora e mais de 40 horas de material audiovisual, entre imagens e entrevistas com pessoas envolvidas em sua vida, seu trabalho e na construção do Parque Nacional Serra da Capivara, apresenta-se aqui um perfil de Niéde, administrando sua expressão pública controversa e tratando também dos sentidos produzidos na entrevistadora/documentarista; frutos deste processo sem o vínculo direto com a verdade e com maior interesse na manipulação estética dos sentidos e memórias. As entrevistas são organizadas e comentadas em paralelo à polifonias de autores e participantes da vida da pesquisadora e funcionam como disparadores de reflexões sobre História, Política, Autoria e temas que perpassam os diálogos e as relações estabelecidas no processo de produção do documentário "A Mulher Original" / Abstract: This paper builds, with audiovisual and text, a profile of Niéde Guidon, an eighty two years old Brazilian archaeologist, granddaughter of french immigrants and a couple of a Brazilian army officer and a Kaingang native. After building a strong career in research in France, in 1973 Guidon first visited archaeological sites of rock paintings in the southeastern region of Piauí¿Brazil, found by residents of the area, which led her to the organization of the first French¿Brazilian mission research, and later to the foundation of the National Park Serra da Capivara, the Museum of the American Man Foundation and a path of many social works around the park.?With over ten hours of direct interviews with the researcher, captured on video, and 40 hours of images and interviews with people involved in her life, her work and the construction of the National Park Serra da Capivara; also with citations of interviews conducted by different authors and institutions in recent years, I introduce a character profile and her public controversy image, dealing with the feelings and impressions developed on me as interviewer/documentarist, without the direct link with the truth and facts, but higher interest on handling aesthetic senses and memories of the process itself. Inspired by essays and literary journalism, the interviews will be arranged and discussed in parallel to the polyphony from various authors and participants in the life of the researcher. The Original Woman intends to trigger thoughts on history, politics, authorship and themes that pervade the dialogues and the relationships established in the process of documentary production and construction of this text; assuming an establishment of exchanges and interactions between interviewer and interviewees, and also discussing the documentary production process / Mestrado / Divulgação Científica e Cultural / Mestra em Divulgação Científica e Cultural

The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.

The film is about a newly arrived Japanese student's initial period of adjustment at the University of North Texas. This observational documentary film follows the student and witnesses the student's first reactions to various social environments. The purpose of this creative thesis project was to depict the difficulties that international students encounter at the beginning of their stay in America. The initial goal of the video was to provide useful visual research material to people who are interested in the acculturation of foreign students. Because of its realistic character, the video can give its audiences a more immediate and vivid picture of foreign students than existing written literature. By giving an authentic portrait of the students' hardship and adjustments, the ultimate goal of this video was to increase the American people's appreciation of the difficulties encountered by foreign students who come to this country equipped with limited social assistance and resources. An accompanying production report describes the research process, the pre-production, production, and post-production stages.

The Texas Open Beaches Act states that the public beach extends from the water up to the line of vegetation. Once a privately-owned property is submerged, it transfers into state ownership. Because of severe erosion and the shifting nature of vegetation, the Village of Surfside has lost several rows of houses and streets and, currently, over thirty houses are located on the public beach obstructing public access in violation of the Texas Open Beaches Act. The extreme erosion in this small village on the Texas Gulf Coast puts homeowners, property owners, legislators, and beachgoers in difficult positions and many are at odds with one another. The documentary film is structured around rental property owner Russell Clinton, environmentalists Ellis Pickett and Jeff Hooton, and former State Senator A.R. "Babe" Schwartz.

The Best Medicine is an animated documentary that explores the true stories behind the live performances of stand-up comedians. The film juxtaposes live stand-up performances with candid interview footage combined with animation and illustration. Three subjects– Michael Burd, Casey Stoddard, and Jacob Kubon– discuss alcoholism, childhood abuse, and sexual anxiety, respectively. Their candid, intimate interviews reveal personal information, creating a new context with which to understand live stand-up comedy performance. This illustrates themes of finding humor in dark or painful circumstances and the cathartic nature writing and performance.

Hauntology Man, a 48-minute documentary, follows former UNT Professor, Dr. Shaun Treat, as he leads a walking ghost tour of downtown Denton, Texas. As the expedition moves from storefront to storefront, each stop elicits a new tale. But, as Dr. Treat points out, the uncertainties of history are the real ghosts. That is, rather than simply presenting a "haunted history" of Denton, it's more accurate to say this movie's center resides at the precipice of a "haunting history." Not all ghost stories need spectres. Sometimes not knowing is ghost enough.