Made available in DSpace on 2016-08-03T12:30:55Z (GMT). No. of bitstreams: 1 Paginas 1-129.pdf: 1183060 bytes, checksum: 6f282a5555f223c2051602490d1b219a (MD5) Previous issue date: 2006-04-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Through qualitative research, with study of descriptive case on the House of Cinema of Porto Alegre, the aim of the project is to analyze whether the cinema produced in Rio Grande Do Sul, has developed proper, regional characteristics, and to observe whether the Gaúcha regional identity was portraied in the cinematographic productions. The House of Cinema of Porto Alegre is producer and distributor of movies, situated in the city of Porto Alegre/RS, was created in December 1987, by a group of Gauchos filmakers. These ones worked with films since the beginning of years 80, and they still they act in the Brazilian cinematographic market. For this analysis it was opted to a clipping in the filmography between 1981 to 2001, for being this one, according to critics, researchers and directors of cinema of Rio Grande do Sul, a period of adaptations and transformations inside the Gaucho cinema.(AU) / Através de pesquisa qualitativa, com estudo de caso descritivo sobre a Casa de Cinema de Porto Alegre, o objetivo do projeto é analisar se o cinema produzido no Rio Grande do Sul desenvolve características próprias ou regionais e observar se a identidade regional gaúcha é retratada nas produções cinematográficas. A Casa de Cinema de Porto Alegre é uma das maiores empresas produtoras e distribuidoras de cinema do Rio Grande do Sul. Situada na cidade de Porto Alegre/RS, a Casa de Cinema foi criada em dezembro de 1987 por um grupo de cineastas gaúchos. Estes trabalhavam em cinema desde o início dos anos 80, e ainda atuam no mercado cinematográfico brasileiro. Para esta análise, optou-se por um recorte na filmografia entre 1981 a 2001, por ser este, segundo críticos, pesquisadores e diretores de cinema do Rio Grande do Sul, um período de adaptações e transformações dentro do cinema gaúcho.(AU)

"Juanito, el huerfanito" es la película melodramática más exitosa del cine regional. Sin embargo, se conoce poco acerca de los motivos que llevaron a la notoriedad este largometraje dada la miope visión intelectual sobre esta categoría cinematográfica. Por ello, el presente trabajo consiste en demostrar mediante un análisis semiótico que, si bien a simple vista las particularidades de la película la distancian del cine estándar consumido en multicines, su éxito radica en el discurso que sus particularidades melodramáticas resaltan y en los efectos emocionales que genera en su público, sobre todo el del reconocimiento de sus diferencias. / Trabajo de investigación

El presente estudio cualitativo analiza como el capital cultural influye en desarrollo de la filmografía de cineastas regionales en el Perú. Se investigó como el capital cultural, en específico el proveniente de las instituciones educativas, facilita o limita el acceso a la realización de películas que llegan a recibir reconocimientos a nivel nacional e internacional por parte de cineastas nacidos en las regiones del Perú, a excepción de la capital metropolitana, Lima. La información obtenida se dio a través de seis participantes mediante entrevistas semiestructuradas. Entre ellos, se encuentran directores de cine que han realizado cortometrajes o largometrajes y han participado en espacios de formación fuera de sus regiones de nacimiento. Los resultados muestran que el capital cultural obtenido producto de la formación universitaria y relacionada al ámbito cinematográfico constituyen tanto posibilidades como barreras para el desarrollo de la filmografía. Asimismo, se encontraron que existen experiencias diferenciadas en el acceso al capital cultural institucionalizado que condiciona las diferentes oportunidades de reconocimiento a lo largo de su filmografía. / This qualitative study analyzes how cultural capital influences the development of the filmography of regional filmmakers in Peru. It was investigated how cultural capital, specifically that from educational institutions, facilitates or limits access to the making of films that receive national and international recognition by filmmakers born in the regions of Peru, with the exception of the metropolitan capital, Lima. The information obtained was given through six participants through semi-structured interviews. Among them are film directors who have made short or feature films and have participated in training spaces outside their regions of birth. The results show that the cultural capital obtained as a result of higher education and training related to the cinematographic field constitute both possibilities and barriers for the development of filmography. Likewise, it was found that there are different experiences in accessing institutionalized cultural capital that conditions the different opportunities for recognition throughout their filmography. / Tesis

El presente artículo analiza el consumo de cine regional, tomando como objeto de estudio a la audiencia joven residente en Lima, para comprender los factores influyentes en su consumo. El cine regional peruano, se ha caracterizado, recientemente, por ser una categoría del cine peruano, en evolución, con obras cinematográficas de gran presencia en los circuitos de distribución y exhibición comercial. Sin embargo, la evolución en el crecimiento y los avances tecnológicos para la producción, no han logrado introducir el cine regional en la distribución comercial. Así mismo, las investigaciones académicas alrededor del tema son escasas. El presente trabajo, se centra en analizar el consumo de cine regional peruano en los adultos jóvenes que viven en Lima, a través de una investigación cualitativa de la audiencia mencionada, la cual se realizó de manera virtual, a través de grupos focales online asíncronos. Debido a la pandemia que se vive actualmente generada por la Covid-19. Los resultados muestran que los usuarios tienen presente el cine regional dentro de sus hábitos de consumo cinematográficos. Finalmente, esta investigación, ha permitido conocer los factores que influyen en el consumo de cine regional y la necesidad de mayor estudio en el campo del cine regional peruano, en el campo audiovisual, psicológico y académico. / This article analyzes the consumption of regional cinema, taking as object of study the young audience residing in Lima, to understand the influencing factors in its consumption. The Peruvian regional cinema has been characterized, recently, as a category of Peruvian cinema, in evolution, with cinematographic works of great presence in the distribution and commercial exhibition circuits. However, the evolution of growth and technological advances for production have not succeeded in introducing regional cinema into commercial distribution. Likewise, academic research on the subject is scarce. The present work focuses on analyzing the consumption of Peruvian regional cinema in young adults living in Lima, through a qualitative investigation of the aforementioned audience, which was carried out virtually, through asynchronous online focus groups. Due to the current pandemic generated by Covid-19. The results show that users keep regional cinema in mind within their film consumption habits. Finally, this research has allowed to know the factors that influence the consumption of regional cinema and the need for further study in the field of Peruvian regional cinema, in the audiovisual, psychological and academic fields. / Tesis

This thesis explores the films produced in the francophone Belgian region of Wallonia as a case study for the configuration of what will be termed a ‘transnational regional’ cinema. The first section of this dynamic is considered in relation to film and cultural policy, which problematizes the possible formation of a clearly delineated regional or ‘national’ cinema. This presupposes a reconfiguring of the transnational along the lines of the regional and the linguistic communities of Belgium, which, in essence, pertains to how production, distribution and exhibition mechanisms function within the devolved region of Wallonia. This section therefore focuses on film policy as well as a macro- and micro- economic analysis of the industry in order to consider the perceived imbalance between Belgian and French cinema. In the second half, the thesis develops a textual analysis of a series of case study films to consider how cultural film policy and francophone Belgian identity is imagined and then imaged on screen. The interplay between the transnational and the regional is then nuanced by the approaches to the ‘transnational regional’ aesthetic. This aesthetic includes the visualization of the rural and urban Walloon landscape in Eldorado (Bouli Lanners, 2008) and Ultranova (Lanners, 2006) and the ‘marked’ regional landscape in Cages (Olivier Masset-Depasse, 2006). The shift in location across the conterminous border with France due to the logic of film funding engenders the approach to the ‘marked’ regional space in Masset-Depasse’s film. The final chapter tracks this aesthetic through to the works of the Dardenne brothers and in particular Le gamin au vélo (Dardenne brothers, 2011) in order to approach the construction of a peripheral spatial formation through corporeal movements. This therefore necessitates a consideration of how the Dardenne brothers’ film chimes with waves of European filmmaking, thereby revealing a regional space that is conceptualized as de-centred.

[pt] A tese investiga, a partir de análise bibliográfica interdisciplinar, material de arquivo e de entrevistas semiestruturadas, como a multicentralidade do desenvolvimento de ideias e das produções audiovisuais contribuiu para o surgimento de poéticas relacionais dramatúrgicas no cinema brasileiro contemporâneo. O primeiro capítulo discute os aspectos culturalistas, distributivistas, universalistas e concentracionistas das políticas públicas e privadas setoriais desenvolvidas pelo campo audiovisual, com foco no pequeno movimento de desconcentração regional percebido nas duas primeiras décadas do século XXI. O segundo capítulo apresenta a chave teórica com a qual o corpus é abordado e delineia o conceito de poéticas relacionais dramatúrgicas, que subsidia o estudo das práticas adotadas e dos resultados estéticos obtidos pelas produtoras audiovisuais Rosza Filmes, sediada no Recôncavo da Bahia, e Filmes de Plástico, criada na área metropolitana de Belo Horizonte, em seus longa-metragens de ficção. O terceiro e último capítulo desvenda como seus agentes criativos construíram modos próprios e autônomos para o desenvolvimento e a produção de suas estórias e como, a partir de seus pontos de observação do mundo, eles esculpiram enredos originais, que colocaram em cena paisagens, corpos e vidas até então ausentes nas telas do cinema brasileiro. A tese constata que novos agentes criativos surgiram e ocuparam um espaço no cinema nacional com filmes ficcionais focados em repertórios afetivos multicentrados, populares, porém não massificados, distintos em si. Recomenda, por fim, a reabertura dos caminhos políticos que possibilitem continuidade no alargamento da diversidade narrativa regional na produção audiovisual brasileira. / [en] The thesis investigates, based on interdisciplinary bibliographic analysis, archival material and semi-structured interviews, how the multicentrality of the development of ideas and audiovisual productions contributed to the emergence of dramaturgical relational poetics in contemporary Brazilian cinema. The first chapter analyzes the culturalist, distributive, universalist and concentrationist aspects of the public and private sectoral policies developed by the audiovisual field, focusing on the small movement of regional deconcentration perceived in the first two decades of the 21st century. The second chapter presents the theoretical key with which the corpus is approached and outlines the concept of dramaturgical relational poetics, which supports the study of the practices adopted and the aesthetic results obtained by the audiovisual production companies Rosza Filmes (Rosza Films), based in Recôncavo da Bahia, and Filmes de Plástico (Films of Plastic), created in the metropolitan area of Belo Horizonte, in its fiction feature films. The third and final chapter unveils how its creative agents constructed their own and autonomous ways for the development and production of their stories and how, from their points of observation of the world, they sculpted original plots, which put landscapes, bodies and lives that were previously absent from Brazilian cinema screens. The thesis finds that new creative agents emerged and occupied a space in national cinema with fictional films focused on multi-centered affective repertoires, popular, but not massified, distinct in themselves. Finally, it recommends the reopening of political paths that enable continuity in the expansion of regional narrative diversity in Brazilian audiovisual production.