Submitted by Luciana Sebin (lusebin@ufscar.br) on 2016-09-23T13:43:18Z No. of bitstreams: 1 DissGGSA.pdf: 3021689 bytes, checksum: c8346bc90401bda90c88dc8c5d187607 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-27T19:23:07Z (GMT) No. of bitstreams: 1 DissGGSA.pdf: 3021689 bytes, checksum: c8346bc90401bda90c88dc8c5d187607 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-27T19:23:13Z (GMT) No. of bitstreams: 1 DissGGSA.pdf: 3021689 bytes, checksum: c8346bc90401bda90c88dc8c5d187607 (MD5) / Made available in DSpace on 2016-09-27T19:23:18Z (GMT). No. of bitstreams: 1 DissGGSA.pdf: 3021689 bytes, checksum: c8346bc90401bda90c88dc8c5d187607 (MD5) Previous issue date: 2015-09-28 / Não recebi financiamento / This dissertation aims to analyze the documentary Nelson Freire seeking to explore the main aspects that distinguish this work from most of the musical documentaries made in Brazil between the years of 2000 and 2013. The peculiarities of Nelson Freire were detected and problematized establishing a dialogue between the film and three of the major trends that integrate the contemporary Brazilian scene of documentaries about music: the trend of record of intimacy and the everyday life, the trend of musical performance, and the biographical trend. / Esta dissertação pretende analisar o documentário Nelson Freire buscando explorar os principais aspectos que diferenciam esta obra de grande parte dos documentários musicais realizados no país entre os anos de 2000 e 2013. As peculiaridades de Nelson Freire foram localizadas e problematizadas a partir do diálogo estabelecido entre o filme e três das principais tendências que compõe o cenário brasileiro contemporâneo dos documentários sobre música: a tendência do registro da intimidade e do cotidiano, a tendência da performance musical, e a tendência biográfica.