Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-06-29T12:57:21Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Marcos Santos.pdf: 8688707 bytes, checksum: 06b0c16a45e67ea75361f322ec7b684b (MD5) / Made available in DSpace on 2016-06-29T12:57:21Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Marcos Santos.pdf: 8688707 bytes, checksum: 06b0c16a45e67ea75361f322ec7b684b (MD5) Previous issue date: 2014-05-30 / FACEPE / Esta pesquisa propõe uma análise do processo de criação do filme Tatuagem (2013), do roteirista e diretor Hilton Lacerda. Tal análise tem como ponto de partida as seguintes indagações: Como ocorre a transposição do roteiro para o filme? Como um filme é feito? Para responder essas indagações, percorremos o percurso empírico da transposição. Na busca por essa compreensão, procuramos refazer parte dos caminhos trilhados pelo realizador, analisando os rastros ou vestígios deixados pelo mesmo durante a feitura de sua obra, tais como o roteiro, anotações técnicas, e até mesmo os diferentes cortes do filme. Assim, a pesquisa se divide em duas etapas: a primeira se deu pela observação e catalogação dos documentos de processo, a partir de visitas ao set de gravação e à ilha de edição, onde foi realizada uma etnografia na tentativa de dar conta das particularidades desse processo. A segunda etapa consiste na reflexão teórica sobre esses materiais e experiências, tendo como base os estudos acerca do processo de criação realizados pela pesquisadora Cecilia Almeida Salles (2008) e Michael Baxandall (2006), dentre outros teóricos que vêm a contribuir com a pesquisa. / This research presents an analysis on the creation process of the movie Tatuagem (2013), written and directed by Hilton Lacerda. This analysis begins with some questions: How does a script turns into a movie? How a film is made? To answer those questions we will go through the empirical path of transposition. In order to understand it, we'll seek through some choices taken by the director, analyzing the traces and vestiges left by him during the making of his work, such as the script, technical notes and even the different cuts of the film. So, the research is divided in two stages: the first deals with the observation and cataloging of process documents, from visits to the film set and editing room, where an ethnography was conducted in an attempt to account for the peculiarities of this process. The second step consists of a theoretical reflection on this material and those experiences, based on creation process studies conducted by researchers Cecilia Almeida Salles (2008) and Michael Baxandall (2006), among other authors who come to help with this work.

[pt] A dissertação pretende percorrer os caminhos de escritores e cineastas contemporâneos por um cenário de crescente diluição de fronteiras entre os meios artísticos e midiáticos. O atual contexto de intensa permeabilidade e mobilidade entre as linguagens audiovisual e escrita, e a continua penetração de mecanismos do mercado na interação entre os dois meios propõem severos desafios a categorias até então consolidadas para a definição dos campos da arte. Entre os conceitos colocados em questão, podemos reconhecer um processo de progressiva instabilização da noção de autoria. A partir da análise da obra de Marçal Aquino, Beto Brant e Lourenço Mutarelli, essa pesquisa irá investigar o impacto do atual contexto sobre as obras desses artistas e de que maneira cada um deles pode responder aos dilemas que a nova configuração lhes apresenta. / [en] The thesis proposes to follow the paths of contemporary writers and filmmakers in a world of increasing dilution of the boundaries between artistic mediums and media. The current context of intense permeability and mobility between the audiovisual and written languages and continuous penetration of market mechanisms in the interaction between the two medias categories offers severe challenges to some of the consolidateds definitions of the fields of art. Among them, the notion of authorship especially passes through a process of progressive instability. From the analysis of the work of Marcal Aquino, Beto Brant and Lourenço Mutarelli, this research will investigate the impact of the current context on the works of these artists and how each may respond to the dilemmas that the new situation presents to them.

Since March 2020, community-based performance social groups have shifted drastically. With COVID-19, quarantining and social distance protocols, the ongoing pandemic has altered in-person social work and the way communities interact. The information shared in this thesis is drawn from 4 semi-structured qualitative interviews. The data showcases folks who are community leaders, teachers and social workers who use performance techniques with their clients. My study asked the Participants about their history using theatre arts within their practice and investigated how COVID-19 impacted their endeavours. The data collected implies that community work using theatre has an ongoing potential to support social change efforts toward rebuilding and sustaining connection. Yet, the data also discovered a growing divide that is further affecting marginalized folks who can not access community within a digital world. Inspired by the works of Lisbeth Berbary (2011) and Jonathan Gross (2021) this thesis artistically re-imagines the collected data as a social performance amongst the Participants involved. With permission from the Participants, an ethnographic screenplay using a creative analytical approach (Berbary, 2011), transformed the semi-structured qualitative interview findings to highlight key discoveries. These key discoveries outline a nuanced understanding of how performance for social change has been transformed and the tensions that arose, particularly the growing social divide for access (the divide between those who can access online community performance groups and those who lose out from a lack of technological accessibility). Analyzing these conflicting advantages and disadvantages can help build toward an inclusive and equitable approach for theatre as a vehicle for social justice. / Thesis / Master of Social Work (MSW)

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Ce mémoire cherche à dégager les mécanismes et outils narratifs utilisés par les suspenses afin de configurer la tension narrative au cinéma. Le premier chapitre analyse la fonction de la synecdoque et de la métonymie dans la configuration d’un espace-temps tensif. Ainsi, l’exposition d’un danger enclenche une situation narrative incertaine dans laquelle le spectateur s’identifie au personnage menacé et vit avec lui son angoisse. À partir de définitions générales et de nombreux films tels que Jaws et The Matrix, le deuxième chapitre s’aventure à la recherche de récurrences thématiques et esthétiques dans le but de légitimer un genre ambigu. Le troisième chapitre introduit la démarche créative et la recherche en création. Le scénario Les saisons parfaites, un suspense psychologique, évoque L’enfer de Claude Chabrol et Black Swan de Darren Aronofsky. Donc, ce mémoire se demande comment s’articule la tension narrative et comment définir l’identité générique du suspense? Ce dernier existe-t-il seulement? Si oui, à quoi sert-il de l’étudier? / This thesis focuses on the mecanisms and narrative tools used in suspense and thriller films. The first chapter analyzes the function of the synecdoche and metonymy and their role in filmic time-space. The presence of danger triggers incertainties for the viewers that are bound to the endangered character. Then, following larger definitions and numerous films such as Jaws and The Matrix, the second chapter tries to find recurring thematic and aesthetic elements. The purpose of this approach is to legitimate a genre that might not be one. Finally, the third and last chapter, introduces the creative part of this work. A screenplay, The Perfect Seasons (Les saisons parfaites), a psychological suspense, is inspired by Darren Aronofsky’s Black Swan and Claude Chabrol’s L’enfer. This thesis asks how does work narrative tension in films and how is it possible to define suspense as a genre? Does this genre exists? If so, why is it important to study it?

Fisher of Men tells the story of an ancient and secretive group of supernatural balance keepers. When God goes missing, it is up to them to locate him before the armies of Heaven and Hell lay siege to the earth, but they have their own problems. When knowledge of a secret weapon surfaces, they are tasked to find it and destroy it before it falls into the hands of either side. The secret weapon is Charitie Newman, a young woman from rural Indiana who moved to New Orleans with her sister. Charitie has special abilities that have no limits, and after her sister is brutally murdered, she agrees to join forces with the group in order to find God--and her sister's murderer.

Made available in DSpace on 2016-03-15T19:46:48Z (GMT). No. of bitstreams: 1 Silvia de Paula Bezerra.pdf: 707701 bytes, checksum: 13e31c9b0820afc52ffce24cb9064e6e (MD5) Previous issue date: 2009-02-13 / Fundo Mackenzie de Pesquisa / In this paper we study the crime fiction and film O Invasor, focusing the success partnership between the writer Marçal Aquino and the film director Beto Brant. The path made by novel, screenplay and film was different from the usual, because Aquino ended writing the novel in 2002, after the release of the film in 2001. As primary purpose of this paper, we intend to demonstrate how the characters Ivan, Anísio, Giba/Alaor are developed in both novel and film. Therefore, this paper was divided in three chapters. First, we study the characters in the novel and in the screenplay, and their relations that give them verisimilitude. After that, we analyze the development of characters in cinema and the point of view that, in a movie, is determined by the camera and its movements. Furthermore, we present several aspects of film narrative, identifying those with great importance to the story development. Finally, we discuss about the main characteristics of crime fiction and film, as well as the relation between crime fiction and film in Brazil. About noir fiction and film, we examine their origins, influences and more relevant aspects to understand the novel written by Aquino. / Neste trabalho abordamos o romance e o filme policial O Invasor, destacando uma parceria de sucesso entre o romancista Marçal Aquino e o cineasta e diretor Beto Brant. O caminho entre romance, roteiro e filme foi transcorrido de forma diferente do habitual, pois Aquino finalizou a escrita do romance em 2002 após o lançamento do filme que ocorreu em 2001. Temos como objetivo principal do estudo em questão mostrar como as personagens Ivan, Anísio e Giba/Alaor são construídas no romance e no filme. Para tanto, o presente trabalho foi divido em três partes. Primeiramente, abordamos a questão das personagens no romance e no roteiro cinematográfico e as relações que lhe conferem verossimilhança. Depois tratamos da construção da personagem no cinema e do foco narrativo que, em um filme, é definido pela câmera e seus movimentos. Apresentamos também diversos aspectos da narrativa fílmica, identificando aqueles que possuem maior destaque para o desenvolvimento da história. Por fim, discorremos sobre as principais características do romance e do filme policial, bem como a relação entre literatura e cinema policial no Brasil. Quanto ao romance e ao filme policial noir, destacamos suas origens, influências e aspectos mais relevantes para situarmos o romance escrito por Marçal Aquino.

La tesi indaga le caratteristiche strutturali dei film di genere biografico prodotti nel contesto del cinema statunitense e della televisione italiana. Riconosciuto nel fatto che il personaggio protagonista è costruito ad imitazione della persona realmente esistita di cui porta il nome l'aspetto identificativo superficiale del film biografico, viene proposta la seguente, nuova interpretazione: quello biografico è un film la cui struttura drammaturgica esprime sulla forma di vita del proprio personaggio protagonista un giudizio di redenzione o di dannazione. / The dissertation explores the distinctive structural features of the biographical pictures produced by the U.S. film industry and by the Italian TV. Assuming that a biographical picture is a film that dramatizes the life of an actual person, we propose here a new interpretation: in a biographical picture the dramatic structure expresses a judgement of redemption or damnation on the protagonist and his life story.

Ce mémoire cherche à dégager les mécanismes et outils narratifs utilisés par les suspenses afin de configurer la tension narrative au cinéma. Le premier chapitre analyse la fonction de la synecdoque et de la métonymie dans la configuration d’un espace-temps tensif. Ainsi, l’exposition d’un danger enclenche une situation narrative incertaine dans laquelle le spectateur s’identifie au personnage menacé et vit avec lui son angoisse. À partir de définitions générales et de nombreux films tels que Jaws et The Matrix, le deuxième chapitre s’aventure à la recherche de récurrences thématiques et esthétiques dans le but de légitimer un genre ambigu. Le troisième chapitre introduit la démarche créative et la recherche en création. Le scénario Les saisons parfaites, un suspense psychologique, évoque L’enfer de Claude Chabrol et Black Swan de Darren Aronofsky. Donc, ce mémoire se demande comment s’articule la tension narrative et comment définir l’identité générique du suspense? Ce dernier existe-t-il seulement? Si oui, à quoi sert-il de l’étudier? / This thesis focuses on the mecanisms and narrative tools used in suspense and thriller films. The first chapter analyzes the function of the synecdoche and metonymy and their role in filmic time-space. The presence of danger triggers incertainties for the viewers that are bound to the endangered character. Then, following larger definitions and numerous films such as Jaws and The Matrix, the second chapter tries to find recurring thematic and aesthetic elements. The purpose of this approach is to legitimate a genre that might not be one. Finally, the third and last chapter, introduces the creative part of this work. A screenplay, The Perfect Seasons (Les saisons parfaites), a psychological suspense, is inspired by Darren Aronofsky’s Black Swan and Claude Chabrol’s L’enfer. This thesis asks how does work narrative tension in films and how is it possible to define suspense as a genre? Does this genre exists? If so, why is it important to study it?

Den här uppsatsen behandlar huruvida det finns ett multipelt auteurskap och om termen auteur kan appliceras på andra filmskapare än regissören. Utifrån syftet ställdes sedan två frågor: Vilken roll har manusförfattaren jämfört med regissören när det kommer till auteurskap över en film? Samt frågan om på vilket sätt ett multipelt auteurskap skulle kunna formuleras? För att undersöka dessa frågor användes sedan en komparativ metod där romanen Rebecca jämförs med dess filmiska adaptation samt filmens manus. Baserat i fallstudien av Rebecca (1940) diskuteras sedan regissörens roll gentemot filmmanusförfattarens och författarens, samt vad dessa roller får för konsekvenser i termer av auteurskap. / This essay examines whether there is a multiple auteurship and if the term auteur can be applied to other filmmakers than the director. Based on this purpose, two questions where formulated: What is the role of the screenplay-writer compared to the director’s when it comes to auteurship over a film? The paper also examines the question of how a possible multiple auteurship could be formulated. To examine these questions, a comparative method was used in which the novel Rebecca was compared with its cinematic adaptation, as well as the film's screenplay. Based on the case study of Rebecca (1940), the director’s role is thereafter discussed compared to the screenplay-writers and the authors roles, as well as what the consequences of these roles have in terms of auteurship.