The purpose of this thesis document is to explain the process of making the documentary film, No Quarter: The Story of the New Orleans Greys. The document is organized by having the prospectus and the film proposal at the beginning, with the body describing how the film was made based on the prospectus. The purpose of the film is to tell the history of a unit of volunteers in the Texas Revolution, the New Orleans Greys. The document describes the methods used to make the film and how it will be distributed to the intended audience. As the thesis explains, the film changed slightly from the prospectus, however the resulting film was successful in telling the history of the little-known New Orleans Greys.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-17T17:58:40Z No. of bitstreams: 1 TESE - Karina de Faria (2013).pdf: 5071169 bytes, checksum: 5c343b4b571b5d9ef17697f23ebc6daf (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-17T21:37:00Z (GMT) No. of bitstreams: 1 TESE - Karina de Faria (2013).pdf: 5071169 bytes, checksum: 5c343b4b571b5d9ef17697f23ebc6daf (MD5) / Made available in DSpace on 2018-09-17T21:37:00Z (GMT). No. of bitstreams: 1 TESE - Karina de Faria (2013).pdf: 5071169 bytes, checksum: 5c343b4b571b5d9ef17697f23ebc6daf (MD5) / O presente trabalho trata da carreira da atriz baiana Celina Ferreira que nasceu na cidade de Senhor do Bonfim no ano de 1902. Sua trajetória perpassa diversos gêneros teatrais, aqui batizados de arranjos artístico-produtivos, que fizeram parte do cenário cultural da primeira metade do século XX no Brasil, especialmente no nordeste. Celina Ferreira iniciou sua carreira integrando companhias itinerantes ou mambembes que circularam pelo Nordeste (interior e capitais) entre os anos 20 e 30, tendo casado com o ator cômico pernambucano Ferreira da Silva, especialista em teatro de revista. Viúva, estabeleceu-se em Salvador com seus filhos e trabalhou no Circo Fekete, na década de 40, atuando em melodramas característicos do circo-teatro brasileiro. Por fim, aposentou-se como radioatriz tendo trabalhado nas rádios Excelsior e Sociedade. Nesta última, até a década de 60. Com base em acervo familiar, guardado pelos filhos da atriz, e organizado para fins acadêmicos, a pesquisa teve como enfoque a sustentabilidade relacionada principalmente à popularidade junto ao público, e as estratégias utilizadas por artistas, empresários e organizações no sentido de garantir a sobrevivência de artistas e produtos. Também abordou a conjuntura econômica, política e social que serviu de cenário para a carreira da atriz e para o sucesso que promoveu o sustento dos arranjos artístico-produtivos em que trabalhou. / The current paper lies in the career of Celina Ferreira, an actress who was born in the state of Bahia, in Senhor do Bonfim city, in the year of 1902. Her journey crosses many theatrical genres, known here as “productive-artistic arrengements”, which were part of the cultural panorama in the beggining of the 20th century in Brazil, especially in the northeast of the country. Celina Ferreira began her career as a member of itinerant companies- called mambembes, which traveled around the region in the twenties and thirties. She got married to Ferreira da Silva, a comedy actor that was born in Pernambuco and was a theater revue specialist. As a widow, she took place in Salvador with her sons and worked at Fekete Circus, in the forties, acting in typical brazilian theatre-circus dramas. At last, she retired as a “radio-actress”, and had worked for Excelsior and Sociedade radios. For this last one mentioned, she worked until middle sixties. Based on personal family files, kept by her sons, and organized for academic aims, this research focused on the popularity of the theatrical styles that she was part of, as well as the strategies used by artists, entrepreneurs and organizations in order to guarantee the artists and products survival. This research also brought a political, economic and social approach, with aspects that were part of the actress career and motivated the “productive-artistic arrengements” support, successfully experienced by her.

Acompanha: O processo de produção de vídeos na construção de conceitos sociológicos na sala de aula a partir do protagonismo juvenil / Esta investigação tem por objetivo desenvolver um produto educacional tecnológico que possa contribuir no desenvolvimento de conceitos próprios da Sociologia, por meio da produção de vídeos em sala de aula e da promoção do protagonismo juvenil. Para tanto, partiu-se da pesquisa qualitativa que procurou promover a participação dos jovens aprendizes na produção de vídeos em sala de aula. Esses jovens, em colaboração com a professora investigadora, produziram vídeos de diferentes temas relacionados ao eixo Direitos Humanos. Para isso, foram consolidadas práticas pedagógicas relacionadas a didática Histórico-crítica de João Luiz Gasparin (2012). Nesse contexto, as propostas específicas do Ensino de Sociologia foram orientadoras para que os alunos aprendizes construíssem novas relações com os saberes, algo previsto na Educação em Direitos Humanos (EDH). Serviram como fundamentação teórica as concepções de Borba (1999), Rizinni (1999) e Oliveira & Oliveira (1999) quanto a pesquisa participante, Silva (2009a; 2009b), Moraes (2010), Paraná (2008) e Brasil (2006) a respeito do Ensino de Sociologia, Moran (2000), Borba (1999), Costa (2005) e Rojo (2012) para retratar a importância das TIC nos espaços escolares. Espera-se com essa dissertação, oferecer uma contribuição para novos estudos a respeito do Ensino de Sociologia e do protagonismo juvenil na construção de novos conceitos e conhecimentos sobre a vida em sociedade. / This investigation aims at developing a technological educational product that can contribute to the development of own concepts of sociology, through the production of videos in the classroom and the promotion of juvenile protagonism. Therefore, we started with the qualitative research which sought to promote the participation of young apprentices in the production of videos in the classroom. These young people, in collaboration with the researcher teacher, produced videos of different topics related to the axis Human Rights. For this, were consolidated pedagogical practices related to History-Critical didactic of João Luiz Gasparin (2012). In this context, the specific proposals of the Sociology Teaching were guiding in order that apprentices students build new relationships with knowledge, something provided in Human Rights Education (HRE). Served as theoretical basis the concepts of Borba (1999), Rizinni (1999) and Oliveira & Oliveira (1999) about the participatory research, Silva (2009a; 2009b), Moraes (2010), Parana (2008) and Brazil (2006) concerning the Sociology teaching, Moran (2000), Borba (1999), Costa (2005) and Rojo (2012) to portray the importance of ICT in school spaces. It is hoped with this dissertation, offer a contribution to further studies on the Sociology Teaching and youth protagonism in the construction of new concepts and knowledge about life in society.

Acompanha: O processo de produção de vídeos na construção de conceitos sociológicos na sala de aula a partir do protagonismo juvenil / Esta investigação tem por objetivo desenvolver um produto educacional tecnológico que possa contribuir no desenvolvimento de conceitos próprios da Sociologia, por meio da produção de vídeos em sala de aula e da promoção do protagonismo juvenil. Para tanto, partiu-se da pesquisa qualitativa que procurou promover a participação dos jovens aprendizes na produção de vídeos em sala de aula. Esses jovens, em colaboração com a professora investigadora, produziram vídeos de diferentes temas relacionados ao eixo Direitos Humanos. Para isso, foram consolidadas práticas pedagógicas relacionadas a didática Histórico-crítica de João Luiz Gasparin (2012). Nesse contexto, as propostas específicas do Ensino de Sociologia foram orientadoras para que os alunos aprendizes construíssem novas relações com os saberes, algo previsto na Educação em Direitos Humanos (EDH). Serviram como fundamentação teórica as concepções de Borba (1999), Rizinni (1999) e Oliveira & Oliveira (1999) quanto a pesquisa participante, Silva (2009a; 2009b), Moraes (2010), Paraná (2008) e Brasil (2006) a respeito do Ensino de Sociologia, Moran (2000), Borba (1999), Costa (2005) e Rojo (2012) para retratar a importância das TIC nos espaços escolares. Espera-se com essa dissertação, oferecer uma contribuição para novos estudos a respeito do Ensino de Sociologia e do protagonismo juvenil na construção de novos conceitos e conhecimentos sobre a vida em sociedade. / This investigation aims at developing a technological educational product that can contribute to the development of own concepts of sociology, through the production of videos in the classroom and the promotion of juvenile protagonism. Therefore, we started with the qualitative research which sought to promote the participation of young apprentices in the production of videos in the classroom. These young people, in collaboration with the researcher teacher, produced videos of different topics related to the axis Human Rights. For this, were consolidated pedagogical practices related to History-Critical didactic of João Luiz Gasparin (2012). In this context, the specific proposals of the Sociology Teaching were guiding in order that apprentices students build new relationships with knowledge, something provided in Human Rights Education (HRE). Served as theoretical basis the concepts of Borba (1999), Rizinni (1999) and Oliveira & Oliveira (1999) about the participatory research, Silva (2009a; 2009b), Moraes (2010), Parana (2008) and Brazil (2006) concerning the Sociology teaching, Moran (2000), Borba (1999), Costa (2005) and Rojo (2012) to portray the importance of ICT in school spaces. It is hoped with this dissertation, offer a contribution to further studies on the Sociology Teaching and youth protagonism in the construction of new concepts and knowledge about life in society.

Eggplant Emoji is a documentary film that reveals a range of feminist perspectives on dick pics, sexting and online sexual harassment. Through intimate and hilarious interviews with women between the ages of 22 and 35, the film harnesses a collective voice that speaks back to the large and small ways patriarchy wields power in modern spaces, especially through sending unsolicited dick pics. By intertwining the testimonies of a dynamic group of female storytellers sitting amongst their close friends, the film provides candid and diverse commentary on this unique moment we are in, where the lines between private and public, online and offline are increasingly blurred. Until there are greater consequences, whether legal, social or otherwise, for men disrespecting women's choices and personal space, the domain of sexting is in a self-policing state and women are left to expend emotional labor to let men know why what they sent is unwanted or violating. Ultimately, the subjects' testimonials coalesce to provide suggestions for respectful, consensual sexting practices and fill in the gaps where sex education often neglects the importance of consent and communication altogether.

China Run is a 92 1/2 minute documentary film which portrays an ultramarathon runner's record-setting 2,125 mile run across China in 53 days, starting at the Great Wall north of Beijing and concluding in Guangjhou (Canton). It is a story of the difficulties, both physical and emotional, suffered by the runner, as well as the story of his encounters with the people of China.

The Deepwater Horizon oil drilling rig exploded on April 20, 2010, off the coast of Louisiana in the Gulf of Mexico. Following the spill, British Petroleum, leaser of the rig, set up a funding institution known as the Gulf of Mexico Research Initiative (GoMRI) to support research and understanding of the spill on the environments and peoples of the gulf. This outreach project was created alongside research of the RECOVER consortium, funded by GoMRI, to communicate what is happening within research labs around the country to understand the effect that the spill had on fish in pelagic and coastal regions of the gulf. The outreach project is composed of a short film (Deepwaters: The Science of a Spill, 18 min) and related outreach materials posted to Instagram (@FishandOilSpills).

Over the last four centuries, South Africa has been shaped by the twinned, dialectical histories of violence and resistance to violence. However, because both violence and resistance encompass myriad formations and are underlain with a plethora of ideologies and hermeneutics, studying each - particularly from within critical community psychology - is oftentimes necessarily didactic and reductive. Yet, if this kind of research is to retain emancipatory potential, I contend, it should be both community-oriented and politically committed. In an attempt to understand how violence moves through Thembelihle, a low income community in South Africa, an expansive lens for conceptualising violence and resistance is advanced across this research’s four studies. In Study I, I use discursive psychology to examine how Thembelihle has been constructed in dominant discourse by analysing newspaper reporting on the community. Following this, in Study II and Study III, I draw on multimodal discourse analysis to study representations of quotidian life and political resistance in a participatory documentary film entitled Thembelihle: Place of Hope, which was collaboratively produced by residents of Thembelihle, professional filmmakers and myself. Lastly, in Study IV, I harness the narrative-discursive approach to explore how residents of Thembelihle build community in response to Thembelihle: Place of Hope. It was found that within dominant constructions, Thembelihle was personified as a monolithic and an essentially Other geo-cultural space, made newsworthy principally through its engagement with a broad, often vaguely-conceived, notion of violence. In response to dominant discursive constructions of this kind, community members who featured in and produced the documentary advanced a humanistic conception of Thembelihle which did not accept the different violences to which the community is subject. Following this, audiences of the documentary engaged the affective and political dimensions of community-building in order to advance a democratically conceived notion of collective will. These findings present critical community psychologists and violence scholars with a number of considerations around representation; the multitudinous nature of violence and resistance; psycho-politics; and radical hope. Ultimately, I argue, if such research is to be meaningful, it must be guided by and subordinated to the emancipatory requirements articulated by community members. / Psychology / D. Litt et Phil (Psychology)

Don't Frack With Denton chronicles the ground-breaking movement to ban hydraulic fracturing in the city of Denton, Texas by combining observational location shooting with extensive sit-down interviews and carefully negotiated subject-filmmaker relationships to create a safe and comfortable space for thoughtful reflection and criticism of a complex social movement who's activities span several years and many individuals. The result is a long-form documentary that is unapologetically in solidarity with this movement's goals while simultaneously maintaining enough editorial independence and critical distance to allow the activists themselves to honestly evaluate their decision-making, tactics and interpersonal relationships in ways that will provide insight and instruction to similar movements around the country and the world.

"The Great Hanging" is a documentary film that tells the story of the largest extra-legal mass hanging in U.S. History. This story is told through stage play recital of "October Mourning" written by historian and professor Dr. Pat Ledbetter. Using the stage play as a vehicle, the film showcases cinematic re-enactments based in the events in Gainesville, Texas during October 1862. These events show how a small community became overwhelmed by the fog of war and delved into madness as the Civil War crept closer and closer to their doorstep.