Monster Business is a feature film project comprising a horror-thriller feature screenplay and an accompanying exegesis. The screenplay is about a best-selling author who is behind on the delivery of the sequel to his money-spinning first novel and is made an offer by an enigmatic stranger to help rearrange his working environment to facilitate the rapid completion of the manuscript. Over the coming hours, then months, the author discovers just how far the stranger will go to complete the terms of this bizarre and brutal new contract. This accompanying exegesis examines a series of 'paratexts' (a logline, a one-pager and a treatment) that the screenplay has given rise to. The thesis argues that the role of the screenwriter does not end with the production of the core text--the screenplay. Instead, in order to support the development and/or the marketing of the script into a feature film, the screenwriter is an ongoing generator of supplemental documents or paratexts. The paper explores the status and function of paratexts (loglines, onepagers, treatments and explanatory development notes). It further argues that developmental paratexts are a necessary evil, providing a sifting or culling mechanism for producers and production executives, and that they are intended to guide a project toward being 'greenlit' but will more often have, at best, benign or, at worst, negative or destructive effects on its development. In this way, developmental paratexts, although ubiquitous and pro forma, are inherently problematic.

有人嚮往星辰大海，有人卻囿於晝夜、廚房與愛。睡與醒，是關乎每個人生活與生命的基本問題。《不眠》是一個三段式的電影劇本，包涵《自然光》、《人造光》與《平行光》，三種人生狀態，三段不眠故事，試圖描繪當下集體無眠也獨自清醒的時代樣貌。 本文由劇本和創作論述兩部分組成。首先說明故事的創作背景與歷程；並以結構主義敘事學為理論基礎，探討故事的處理手法；最後，參考劇本發表的評量回饋意見，做出創作檢討與總結。劇本部分，包括電影本事、角色簡介、故事大綱及對白本。 / Some people yearn for stars and seas, some limit themselves in day and night, kitchen and love. Awake and asleep is the basic key to life. “Sleepless” is a three-parts screenplay including “Free Light”, “Free Love”, and “Free Dream”. These three stories show three different life statues about sleeplessness, describing different individual stories under one sleepless world. The essay includes a script and creation statements. It first starts with the introduction of creation background and writing courses, follows by reviewing story-writing technique. Lastly, using the survey specifically made for the script to reflect and conclude. The screenplay includes: synopsis, character introductions, story outline, and full script.

Esta pesquisa situa-se no campo das criações artísticas interdisciplinares, envolvendo as relações entre teatro e cinema. Seu objetivo é explorar as possibilidades de contribuição entre essas duas artes a fim de destacar possíveis intercâmbios de procedimentos criativos entre as diferenças de suas especificidades de linguagem. De um lado, há a colaboração da improvisação teatral como um dispositivo de composição de um roteiro de cinema. Do outro, há as metodologias do set de filmagem como um gatilho de criação cênica. Assim, intenciona-se a construção de uma escritura cênica a partir de improvisações. Esta propõe-se a não ser exclusivamente teatral e a ter um potencial cinematográfico. O corpus de análise desta investigação é a elaboração de um experimento cênico e de um curta-metragem híbridos, ambos gerados em um processo colaborativo. A metodologia de pesquisa dá-se em três etapas. Primeiramente o desenvolvimento será calcado no estudo das especificidades de ambas linguagens, nutrido por ideias de teóricos do campo das artes cênicas como Walter Benjamin, Patrice Pavis e Roland Barthes, assim como por teóricos do campo do cinema, tais como André Bazin, Cristian Metz e Susan Sontag. A segunda etapa, de caráter empírico, dará origem ao corpus de análise da pesquisa e será realizada no período de seis meses. Chamada de Experimento Interdisciplinar, a prática contou com o elenco de cinco atores e uma equipe de diretores convidados e contemplou a produção de um experimento cênico e de um curta-metragem. A terceira etapa apoia-se na análise do experimento interdisciplinar e de seus resultados. / This research is situated on the field of interdisciplinary artistical creations involving the relationship between theater and cinema. Its goal is to explore the possibilities of contribution between these two arts in order to highlight possible interchanges of creative procedures between the differences in their language specificities. On one side, there is the collaboration of theatrical improvisation as a composition device for a movie script. On the other side, there are the filming set methodologies as a scenic creation trigger. Therefore, a scenic scripture is intended to be built from improvisations. This is proposed not to be exclusively theatrical and to have a cinematographic potential. The body of analysis of this investigation is the elaboration of a hybrid scenic experiment and a short movie, both generated in a collaborative process. The research methodology is given in three stages. First the development will be centered in the study of both languages’ specificities, nurtured by ideas from theorists of the scenic arts field, such as Walter Benjamin, Patrice Pavis and Roland Barthes, as well as by theorists from the cinema field, such as André Bazin, Cristian Metz and Susan Sontag. The second stage, of empirical character, will give birth to the body of analysis of the research and will be performed in the period of six months. Named “Interdisciplinary Experiment”, the practice is supported by a casting of five actors and a team of guest directors and has contemplated the production of a scenic experiment and a short movie. The third stage leans on the analysis of the interdisciplinary experiment and its results.

Submitted by Clebson Anjos (clebson.leandro54@gmail.com) on 2016-02-16T19:23:12Z No. of bitstreams: 1 arquivototal.pdf: 8087230 bytes, checksum: b344f6bdb013a0e5a241b29e71240ea8 (MD5) / Made available in DSpace on 2016-02-16T19:23:12Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 8087230 bytes, checksum: b344f6bdb013a0e5a241b29e71240ea8 (MD5) Previous issue date: 2015-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Audio description (AD) is a fundamental accessibility feature for blind or low vision people. However, this feature is not used widely due to the high cost and time involved in its development. This paper presents a solution for automatic generation of audio description, called CineAD. The solution detects gaps in speech and generates these descriptions from the analysis of the original script and subtitles. Alternatively, the solution can be incorporated into a speech synthesis tool or used by a professional. To evaluate the solution, we developed a set of experiments with blind users and audio description specialists. The results show that the proposed solution is able to generate descriptions of the most important events of the film, reducing the barriers of blind people to access cinema. / A audiodescrição (AD) é um recurso de acessibilidade fundamental para que pessoas cegas ou com baixa visão possam ter acesso ao cinema. Entretanto, este recurso não é utilizado amplamente devido ao alto custo e tempo envolvidos na elaboração da audiodescrição. Este trabalho apresenta uma solução de geração automática de roteiros de audiodescrição de filmes, denominada CineAD. A solução detecta os intervalos entre as falas do filme candidatos a receber a AD, e gera essas descrições a partir da análise do roteiro original e da legenda. De forma alternativa, a solução pode ser incorporada a uma ferramenta de sintetização de voz ou utilizada por um audiodescritor para a criação do áudio com as descrições. Para avaliar a solução, foi desenvolvido um conjunto de experimentos com usuários cegos e audiodescritores. Os resultados mostraram que a solução proposta tem potencial para gerar as descrições dos eventos mais importantes do filme e, desta forma, reduzir as barreiras de acesso ao cinema que as pessoas com deficiência visual enfrentam.

Esta pesquisa situa-se no campo das criações artísticas interdisciplinares, envolvendo as relações entre teatro e cinema. Seu objetivo é explorar as possibilidades de contribuição entre essas duas artes a fim de destacar possíveis intercâmbios de procedimentos criativos entre as diferenças de suas especificidades de linguagem. De um lado, há a colaboração da improvisação teatral como um dispositivo de composição de um roteiro de cinema. Do outro, há as metodologias do set de filmagem como um gatilho de criação cênica. Assim, intenciona-se a construção de uma escritura cênica a partir de improvisações. Esta propõe-se a não ser exclusivamente teatral e a ter um potencial cinematográfico. O corpus de análise desta investigação é a elaboração de um experimento cênico e de um curta-metragem híbridos, ambos gerados em um processo colaborativo. A metodologia de pesquisa dá-se em três etapas. Primeiramente o desenvolvimento será calcado no estudo das especificidades de ambas linguagens, nutrido por ideias de teóricos do campo das artes cênicas como Walter Benjamin, Patrice Pavis e Roland Barthes, assim como por teóricos do campo do cinema, tais como André Bazin, Cristian Metz e Susan Sontag. A segunda etapa, de caráter empírico, dará origem ao corpus de análise da pesquisa e será realizada no período de seis meses. Chamada de Experimento Interdisciplinar, a prática contou com o elenco de cinco atores e uma equipe de diretores convidados e contemplou a produção de um experimento cênico e de um curta-metragem. A terceira etapa apoia-se na análise do experimento interdisciplinar e de seus resultados. / This research is situated on the field of interdisciplinary artistical creations involving the relationship between theater and cinema. Its goal is to explore the possibilities of contribution between these two arts in order to highlight possible interchanges of creative procedures between the differences in their language specificities. On one side, there is the collaboration of theatrical improvisation as a composition device for a movie script. On the other side, there are the filming set methodologies as a scenic creation trigger. Therefore, a scenic scripture is intended to be built from improvisations. This is proposed not to be exclusively theatrical and to have a cinematographic potential. The body of analysis of this investigation is the elaboration of a hybrid scenic experiment and a short movie, both generated in a collaborative process. The research methodology is given in three stages. First the development will be centered in the study of both languages’ specificities, nurtured by ideas from theorists of the scenic arts field, such as Walter Benjamin, Patrice Pavis and Roland Barthes, as well as by theorists from the cinema field, such as André Bazin, Cristian Metz and Susan Sontag. The second stage, of empirical character, will give birth to the body of analysis of the research and will be performed in the period of six months. Named “Interdisciplinary Experiment”, the practice is supported by a casting of five actors and a team of guest directors and has contemplated the production of a scenic experiment and a short movie. The third stage leans on the analysis of the interdisciplinary experiment and its results.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-06T13:21:02Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Danielle_Rasmussen_Betemps.pdf: 1268436 bytes, checksum: b4413dc354c17f50e0b62fb10b489de8 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-06T14:11:10Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Danielle_Rasmussen_Betemps.pdf: 1268436 bytes, checksum: b4413dc354c17f50e0b62fb10b489de8 (MD5) / Made available in DSpace on 2018-07-06T14:11:22Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Danielle_Rasmussen_Betemps.pdf: 1268436 bytes, checksum: b4413dc354c17f50e0b62fb10b489de8 (MD5) Previous issue date: 2018-01-25 / Sem bolsa / O presente trabalho é o resultado da análise comparativista de relações dialógicas que perpassam o romance Dom Casmurro (1899), de Machado de Assis, e sua adaptação cinematográfica Capitu (1968), dirigida por Paulo Cezar Saraceni, considerando também o roteiro fílmico escrito por Lygia Fagundes Telles e Paulo Emilio Salles Gomes. Para tanto, as reflexões baseiam-se na pesquisa bibliográfica sobre a tríade conceitual: intertextualidade, intermidialidade e adaptação. Primeiramente, a noção de intertextualidade é discorrida a partir dos preceitos elencados por Tiphane Samoyault. Em seguida, o fenômeno da intermidialidade é elucidado por meio de postulados de Claus Clüver, Irina Rajewky e Lucia Santaella. A tríade encerra-se com a abordagem da prática da adaptação pelos vieses de estudos da tradução (Haroldo de Campos e Julio Plaza) e da reciclagem de narrativas (James Naremore), e igualmente com a exposição da teoria proposta por Linda Hutcheon, a qual configura o texto-guia da análise aqui proposta. Ademais, o potencial literário dos roteiros de cinema constitui outra questão trazida à luz neste estudo. Desse modo, são verificadas as especificidades de produção do filme Capitu, o qual resultou do trabalho adaptativo de uma escritora de literatura e um crítico de cinema, bem como de um cineasta vinculado ao movimento mais inovador da história do cinema brasileiro – a saber, o Cinema Novo –, mas que não foi feliz na confecção de uma adaptação transcriadora e bem-sucedida, aos moldes de Campos e Hutcheon, e falhou em seu projeto de mover o foco narrativo e, assim, recriar, em outra linguagem, o texto machadiano. / This paper is the result of the comparativist analisys of the dialogical relations between the novel Dom Casmurro (1899), by Machado de Assis, and its cinematographic adaptation Capitu (1968), directed by Paulo Cezar Saraceni, also considering the screenplay written by Lygia Fagundes Telles e Paulo Emilio Salles Gomes. Therefore, the reflexions are based on the bibliographic research about the conceptual triad: intertextuality, intermidiality and adaptation. First, the concept of intertextuality is developed from the precepts listed by Tiphane Samoyault. Then, the phenomenon of the intermidiality is elucidated by means of postulates by Claus Clüver, Irina Rajewky and Lucia Santaella. The triad closes with the approach of the adaptation practice by the perspectives of the translation studies (Haroldo de Campos and Julio Plaza) and narratives recycling (James Naremore), and equally with the demonstration of the theory proposed by Linda Hutcheon, which configures the guide text of the analisys proposed here. Furthermore, the literary potential of the screenplays constitutes another question brought to light in this study. This way, were verified the specificities of production of the film Capitu, which resulted from the adaptative work of a literature writer, a movie critic and a film-maker linked to the most innovative movement of the history of Brazilian Cinema – the Cinema Novo -, that wasn't happy in the confection of a transcreative and successfull adaptation, at the molds of Campos and Hutcheon, and failed in its project to move the narrative focus and, thus, recreate, in another language, the Machado de Assis' novel.

A presente pesquisa tem como objeto a figura do autor-roteirista relacionado ao âmbito do universo transmídia da ficção televisiva no Brasil. Partimos da hipótese de que a ação do autor-roteirista em todas as dimensões da criação de conteúdo transmídia da ficção televisiva brasileira é viável, possível e recomendável. Assim, compreendemos que esse autor-roteirista detém poder aglutinador inicial para estabelecer estratégias mais criativas para gerar produtos ficcionais com uma dimensão simbólica superior à sua dimensão material. As histórias, ou seja, as narrativas da ficção televisiva brasileira, por sua expressividade inerente, possuem potencialidade de circulação e redundância muito maior e mais expressiva se forem, num primeiro momento, assumidas e disseminadas por autores-roteiristas. Para alcançar nossos objetivos, elaboramos uma estratégia metodológica que envolveu recursos qualitativos de tratamento de dados e nos valemos de alguns conceitos e operacionalizações do método etnográfico, particularmente da etnografia virtual. Trabalhando com um universo de investigação de teor relacional, coletamos através de pesquisa bibliográfica clássica, de textos acadêmicos na internet, além de sua extensão para textos e materiais não acadêmicos. Aplicamos um questionário on-line em pesquisa do tipo survey, a fim de obtermos dados primários sobre as formas de trabalho relativas ao conteúdo transmídia (conceito) entre autores-roteiristas (população-alvo). Desenvolvemos, também, um método de quadros sintético-analíticos que serviram de base para o escalonamento de autores, desde os mais teóricos até os mais práticos. Entre os principais resultados, destacamos a possibilidade de criar diálogo entre autores-roteiristas e teorias recentes relacionadas à profissão e identificamos algumas obras de ficção televisiva brasileira que exibem notadamente essas características autorais em suas extensões transmídia / The following research has as its study object the figure of the author-screenwriter relating to the transmedia universe of Brazilian television fiction. The research starts from the hypothesis that the author-screenwriter acting in all dimensions of creating transmedia content is something viable, possible and recommended. Thus, it\'s comprehensible that the authorscreenwriter has initial agglutinative power to stablish more creative strategies to generate fictional products with a superior symbolic dimension than its material dimension. Stories, that is, fictional narratives in Brazilian television, by having inherent expression, have the potential of larger and more expressive circulation and redundancy if they were, at first glance, created and disseminated by the author-screenwriter. To reach the objectives of the research, we developed a methodological strategy that used qualitative methods of data analysis and used concepts and operations common to the ethnographic method, more specifically of virtual ethnography. While investigating related content, we collected data through a classic bibliographic research; internet bibliographic research and research of articles and other non-academic materials. We created and applied an online survey which had the objective of discovering the work methods that related to transmedia content (concept) between authors-screenwriters (target population). We developed, also, a method of syntheticanalytic studies that served as base for the scaling of authors, from the most theory-based to the practical-based. Among the main results, we highlight the possibility of the creation of dialog between authors-screenwriters about recent theories related to the profession and identified some works of Brazilian television fiction that notably exhibit those authorial characteristics on its transmedia extensions.

O presente trabalho tenta entender o roteiro do filme Contra a Parede (2004), de Fatih Akin, como texto dramático, buscando não apenas contribuir para os estudos do roteiro cinematográfico na área de Letras, mas também na área de Cinema. São enfoques distintos em suas especificidades, mas complementares. Entendido como texto dramático, o roteiro em questão apresenta características típicas da tragédia. Sendo assim, analisamos os personagens principais enquanto personagens dramáticos, o coro e a estrutura desse roteiro, a partir de cenas selecionadas. Interessa-nos em especial a questão da redenção dos protagonistas Cahit e Sibel. Para nos ajudar no substrato teórico, recorremos aos estudos de Aristóteles, Nietzsche, Bordwell, Jaspers e Romilly. / This paper aims to understand the script of the film Head-On (2004), by Fatih Akin, as a dramatic text, seeking not only to contribute to screenplay studies in the field of writing, but also in the field of cinema, for these are different yet complementary approaches. Understood as a dramatic text, the script in question presents features that are typical of the tragedy. Thus, we analyze the main characters as dramatic characters, the chorus and the structure of the script, from selected scenes. We are particularly interested in the matter of redemption of the main characters Cahit and Sibel. To help us in theoretical basis, we turn to the study of Aristotle, Nietzsche, Bordwell, Jaspers and Romilly.

An action-adventure script about a hard-driving journalist named Jen who teams up with a talented but fainthearted Iraqi archaeologist and a cynical renegade soldier turned smuggler to track down antiquities looted by ISIS after the death of her war correspondent fiancé.

The importance of knowledge transfer inside organizations is an undisputable fact, which got the attention of managers in recent decades. One of the most important reasons that make the knowledge transfer a compulsory task is the danger of its loss. Storytelling in any of its forms, including movie script writing, facilitates knowledge transfer by the use of its potency in representing different information’s component and interrelationships between them. But using movies and movie-scripts in organizations as a knowledge management tool is not as easy as it sounds. There are some issues that should be considered, otherwise the result will not be as good as expected or can even have negative effects on the audience. Based on a search that we have done, we noticed the lack of a comprehensive research which tackles these issues from both knowledge management and scriptwriting perspectives, and provides practical solutions for them. In this thesis we introduce a set of guidelines to inspire knowledge managers or screenwriters who are supposed to write a movie script for transferring knowledge inside organizations. These guidelines may facilitate this process by guiding them to foresee and prevent the issues and solve the problems which may occur. For achieving this goal, we first did a comprehensive literature review and developed a set of guidelines. Then we applied the resulted guidelines on a case. Finally, we evaluated them by utilizing method triangulation. We asked experts' opinions about the applicability and efficiency of the guidelines, tested the clarity and understandability of them, and tested the performance of a movie script which we wrote for the case. The result of the evaluations was pretty satisfying. The knowledge management and screenwriting experts gave us positive comments about efficiency of the guidelines. The managers, who we consulted, found this set of guidelines applicable in real situations. The clarity and understandability test returned an average of 75.58% positive results, which shows that the user of the set of guidelines can read and understand it easily. Finally the test of the movie-script, which we wrote for a real case according to the guidelines, resulted in an average of 85% correct answers. It shows that we were successful in transferring the knowledge, which was embedded in the movie-script, to the recipients. The experts’ opinion and test results indicate that these guidelines are clear, understandable, applicable, and may efficiently facilitate the process of screenwriting for transferring knowledge inside organizations. It can increase the benefits that organizations make from investing in film production by the purpose of transferring knowledge internally.