Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-06-01T20:46:55Z No. of bitstreams: 1 DISS_2014_Jean Carlos Dourado de Alcantara.pdf: 1672791 bytes, checksum: a7a41386770ab9e73e6c45939a2bd451 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-06-05T16:35:56Z (GMT) No. of bitstreams: 1 DISS_2014_Jean Carlos Dourado de Alcantara.pdf: 1672791 bytes, checksum: a7a41386770ab9e73e6c45939a2bd451 (MD5) / Made available in DSpace on 2017-06-05T16:35:56Z (GMT). No. of bitstreams: 1 DISS_2014_Jean Carlos Dourado de Alcantara.pdf: 1672791 bytes, checksum: a7a41386770ab9e73e6c45939a2bd451 (MD5) Previous issue date: 2014-08-29 / Diante do crescente aumento dos recursos audiovisuais que têm adentrado o espaço escolar atualmente, esta pesquisa objetiva refletir sobre o uso didático da linguagem audiovisual, mais especificamente a do curta-metragem, por professores de língua portuguesa na construção de suas práticas de ensino. Discutimos, neste trabalho, não apenas o caráter pedagógico dessa ferramenta, mas também o seu potencial de produzir transformação nos alunos, tornando-os sujeitos ativos na construção e negociação de sentidos. Buscamos também, por meio do estudo da linguagem cinematográfica, caminhos que levem à valorização e respeito ao cotidiano, à diversidade e à pluralidade dos estudantes, conforme preceituado pelos PCN. Nossas reflexões têm como base as experiências de professores que se serviram do projeto Curta na Escola, desenvolvido pela Petrobrás, desde 2006, o qual disponibiliza em seu site curtas-metragens brasileiros, acompanhados de sequências didáticas, para uso de profissionais cadastrados. Nos relatos selecionados, buscamos verificar, por meio das práticas de ensino, as concepções de linguagem adotadas pelos professores, bem como sua relação com a linguagem do cinema e seus sistemas representativos. Esta pesquisa está respaldada pela teoria enunciativo-discursiva, de abordagem sócio-histórica, elaborada pelo filósofo russo Mikhail Bakhtin. Além disso, buscamos, à luz da teoria do cinema, compreender o processo de produção de sentidos pela linguagem audiovisual, utilizada nas produções cinematográficas. E, por fim, estabelecemos um diálogo entre as duas teorias, a fim de constatar a natureza dialógica também presente na linguagem cinematográfica. Para isso, aplicamos, nos enunciados fílmicos, bem como na análise dos relatos, categorias bakhtinianas, tais como: dialogia, exotopia, excedente de visão, cronotopia etc. Após análise dos dados, concluímos que os professores ainda carecem de formação para lidar com a linguagem audiovisual numa perspectiva enunciativo-discursiva. Pretendemos, com esta pesquisa, contribuir para que os docentes preencham essa lacuna ao lidar com as representações cinematográficas. / In view of the growing amount of audio-visual resources that have entered into the school currently, this research aims to reflect about the didactic use of audiovisual language, specifically the short film, by Portuguese teachers in the development of teaching practices. The intention was to discuss not only the pedagogical nature of this tool, but also its potential to produce a transformation in students, making them active subjects in the construction and negotiation of meanings. Through the study of film language, It also sought paths that lead to the valuing and respect to the daily situations, to the diversity and plurality of the students, as specified by the NCP. Our reflections will be based on the experiences of teachers who have used the Short School project, developed by Petrobras since 2006, which provides on its site Brazilian short films. Each short is accompanied by didactic sequences, for use by registered educators. We seek to verify In selected reports, through teaching practices, conceptions of language adopted by teachers, as well as their relationship with the language of cinema and its representative systems. This research is anchored in the enunciation-discursive theory, of social-historical approach, developed by Russian philosopher Mikhail Bakhtin. In addition, we seek, in the light of the cinema theory, understand the process of meaning production of audiovisual language, used in film productions. And, finally, we establish a dialogue between the two theories, in order to determine the dialogic nature also present in film language. To achieve this We applied Bakhtinian categories in the analyze the reports, such as: dialogism, exotopy, surplus of seeing, chronotope etc. After analyzing the data, we concluded that teachers still need training to tackle with the audiovisual language in a enunciative-discursive perspective. Through this research, We intend to contribute for the teachers fill the gap by dealing with cinematic representations.

The present research entitled "Production of Short Films as a Resource for Inclusive Education" developed in the research line Development of Educational Technologies in Network and in the area of concentration Educational Technologies in Network for Innovation and Democratization of Education in the Master course in Educational Technologies In Network at UFSM, focuses on the production of two short films produced by students with intellectual disabilities from a state school in the interior of Santa Maria-RS. Inclusion in school presupposes beyond the right to the vacancy in a regular educational institution. It includes aid in the teaching-learning process and the right of the student to count on different pedagogical alternatives, according to their specifics, making him / her a subject in the construction of knowledge. Given this, it is believed that the school, by providing students with conditions for production and interaction with pedagogical and technological resources, allows students to stimulate creativity and affectivity, as well as facilitates the constitution of identities capable of withstanding restlessness, welcoming and coexisting with Diversity. In this scenario, the present research carried out a study on the technological resource short film, seeking to analyze the feasibility of the same as a subsidy to the adaptive and inclusive process of students with intellectual disabilities. It is a qualitative study based on the presuppositions of participatory action research. Participants in the action research were students with intellectual disabilities, students and teachers. From the exploration of reality, together with the students, the planning, development and evaluation of the action was operationalized. After the production of the short films, a semi-structured interview was conducted with students with intellectual disabilities in order to know their perceptions about participating in the short film. The participation of students with intellectual disabilities as protagonists in the production of the short films reflected in perceptions of reception, inclusion and appreciation. / A presente pesquisa intitulada “Produção de Curtas Metragens como Recurso para a Educação Inclusiva’’ desenvolvida na linha de pesquisa Desenvolvimento de Tecnologias Educacionais em Rede e na área de concentração Tecnologias Educacionais em Rede para Inovação e Democratização da Educação no curso de Mestrado em Tecnologias Educacionais em Rede na UFSM, centra-se sobre a produção de dois Curtas Metragens produzidos pelos alunos com deficiência intelectual de uma escola estadual do interior de Santa Maria-RS. A inclusão escolar pressupõe para além de direito à vaga em uma instituição de ensino regular. Engloba auxílio no processo de ensino-aprendizagem e o direito do aluno de contar com alternativas pedagógicas diversas, de acordo com suas especificidades, tornando-o assim, sujeito na construção do saber. Diante disso, acredita-se que a escola ao possibilitar aos alunos condições para produção e interação com recursos pedagógicos e tecnológicos permite aos alunos estimulo à criatividade e a afetividade, bem como facilita a constituição de identidades capazes de suportar a inquietação, acolher e conviver com a diversidade. Neste cenário, a presente pesquisa realizou um estudo sobre o recurso tecnológico curta metragem, buscando analisar a viabilidade da mesma enquanto subsídio ao processo adaptativo e inclusivo dos alunos com deficiência intelectual. Trata-se de um estudo qualitativo embasado nos pressupostos da pesquisa-ação participante. Os participantes da pesquisa-ação foram alunos com deficiência intelectual, alunos e professores. A partir da exploração da realidade, juntamente com os alunos, operacionalizou-se o planejamento, o desenvolvimento e a avaliação da ação. Após a produção dos curtas metragens realizou-se entrevista semi- estruturada com os alunos com deficiência intelectual com a finalidade de conhecer suas percepções sobre participar do curta metragem. A participação dos alunos com deficiência intelectual enquanto protagonistas da produção dos curtas metragens refletiu em percepções de acolhimento, inclusão e valorização.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-26T12:23:29Z No. of bitstreams: 2 Dissertação - Clécio Luis Gonçalves de Oliveira - 2017.pdf: 1837135 bytes, checksum: d33d9d677d0ee7ee3349274c1be8d54c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-26T12:23:51Z (GMT) No. of bitstreams: 2 Dissertação - Clécio Luis Gonçalves de Oliveira - 2017.pdf: 1837135 bytes, checksum: d33d9d677d0ee7ee3349274c1be8d54c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-04-26T12:23:51Z (GMT). No. of bitstreams: 2 Dissertação - Clécio Luis Gonçalves de Oliveira - 2017.pdf: 1837135 bytes, checksum: d33d9d677d0ee7ee3349274c1be8d54c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-08 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / The short-film is the outline that allows several sayings to come across and initiate a favorable domain to duel where the other, a responsive receptor and responsible, not inert in the discourse, may reflect and/or depict other realities. Before this wide field of relations, the construction of the stereotype meets a favorable area to the construction of sense effects under a diversity of visual extracts, verbal and vocal. In other words, entitled as verbovocovisual that it’s not about an outer language device, by contrast, it’s the enunciation capable of showing ideologies, genre, historical-social relations and the formation of collective representations. In these terms the present master degree dissertation entitled “The verbovocovisual utterance in/by media construction of Lula’s stereotype” regarding the interpretation and analyses dialogical-dialectic of the short-film “The three little pigs Lula version”, establishing connection with the Self that does not exist without the other in a continuous process that echoes in the sayings of the exteriority which is another meeting point between the innerness in the identity’s constitution. So, the audiovisual utterance is a discursive genre as it is a result of human activity and it’s formed by a singular esthetic that establishes in a relation between the most varied discourses, politics, literary and humoristic in the construction of a stereotyped collective representation of declared forms that is placed in history and form the architectonic character of Lula. In order to confirm this construction, we have at hand a theoretical research regarding Bakhtin’s basis corresponding to the interpretative and analytic effort of dialogic relations in/by the audiovisual media that corroborates to the construction of stereotypes perpetrated by temporality and by space in which one sign may convert in an ideological, not as a concluded materialism in its object represented, but in the relation with the social while converting into a symbol. Delivering to something exterior to its own materiality as an object, thus being ideological (BAKHTIN, 2014). Therefore, our reflection theoretical methodologic that constitute our analyses, considers the conceptions of dialogism, ideological sign, discursive genre and utterance (BAKHTIN, 2011; 2013; 2014; BAKHTIN/VOLOCHÍNOV, 2014; VOLOSHINOV, 1976; VOLOSHINOV, 2005), regarding stereotype (AMOSSY, 2005; AMOSSY e PIERROT, 2011), scenography, (MAINGUENEAU, 2005; 2008a; 2008b) and humor (CHARAUDEAU, 2006; 2007; 2009), this last one as effect of senses that contribute to the constitution of a stereotyped collective representation. / O curta-metragem é, aqui, o enunciado que permite que os mais diversos dizeres se encontrem e criem um campo propício ao duelo em que o outro, um receptor responsivo e responsável, não inerte ao discurso, possa refletir e/ou refratar outras realidades. Diante desse campo vasto de relações, a construção do estereótipo encontra um terreno propício para a formação de efeitos de sentidos sob a diversidade de extratos visuais, verbais e vocais. Tais constituem o que se intitula enunciado verbovocovisual, que não se trata de um aparato exterior à linguagem, pelo contrário, é uma enunciação capaz de trazer à tona ideologias, gêneros, relações histórico-sociais e a formação de representações coletivas. Nesse sentido, a presente dissertação de mestrado intitulada “O enunciado verbovocovisual na/pela construção midiática do estereótipo Lula” diz respeito à interpretação e análise dialético-dialógica do curta-metragem “Os três porquinhos versão Lula”, uma vez que a relação se estabelece considerando que o Eu não existe sem o outro em um processo contínuo em que se ecoam dizeres na exterioridade, que é ponto de encontro entre interioridades na constituição da identidade. Assim, o enunciado audiovisual é um gênero discursivo, pois é resultado da atividade humana e é formado por uma estética singular que estabelece uma relação entre os mais variados discursos, sejam eles políticos, literários e humorísticos na construção de uma representação coletiva estereotipada de formas enunciativas que têm lugar na história e que formam a arquitetônica de um Lula personagem. A fim de atestar essa formação nos dispusemos de uma pesquisa teórica a respeito dos alicerces bakhtinianos pertinentes ao empenho interpretativo e analítico das relações dialógicas na/pela da mídia audiovisual em estudo, que corroboram para a construção de estereótipos permeados pela temporalidade e pelo espaço, em que um signo se converte em ideológico, não como uma materialidade encerrada em sua representação de dado objeto, mas na relação que tem com o social ao se converter em símbolo, que remete a algo exterior a sua própria materialidade como objeto, sendo assim ideológico (BAKHTIN, 2014). Desse modo, a nossa reflexão teórico-metodológica que constituirá nossas análises, considera as concepções de dialogismo, signo ideológico, gênero discursivo e enunciado (BAKHTIN, 2011; 2013; 2014; BAKHTIN/VOLOCHÍNOV, 2014; VOLOSHINOV/BAKHTIN, 1976; VOLOSHINOV, 2005), além de teorizações a respeito de estereótipo (AMOSSY, 2005; AMOSSY e PIERROT, 2011), cenografia, (MAINGUENEAU, 2005; 2008a; 2008b) e humor (CHARAUDEAU, 2006; 2007; 2009), este último dado como efeito de sentidos que contribuem para a constituição de uma representação coletiva estereotipada.

The Poetics of Artavazd Peleshyan's Cinema Abstract This thesis presents an analysis of the poetics of Artavazd Peleshyan's cinema based on the theory of poetics of cinema developed by David Bordwell. The first part introduces the reader to the director's work, includes a literature overview and outlines the methodological approach. The main theoretical frame of reference was provided by David Bordwell's concept of the poetics of cinema, which he developed in several publications. The second part of the thesis focuses on the analysis itself, and consists of three chapters that present the main components of a film work: thematics, stylistics and large-scale form. The first of these chapters focuses on basic thematic elements in individual Peleshyan's films and summarizes key themes represented throughout his work. The second chapter presents an analysis of the stylistic component of his work, consisting primarily of combining images and sounds expressed through the montage. This part also deals with Peleshyan's theory of distance montage and illustrates its mechanisms of distance connections using specific examples. The third and final chapter focuses on the formal aspects of Peleshyan's work and discusses its large-scale from the perspective of the essay film. This thesis presents the basic characteristics...

This paper thoroughly examines the production of the thesis film Copper Kingdom. From writing, directing, production design, editing, to cinematography, sound, and workflow, each aspect of the creation of Copper Kingdom is carefully detailed, with insights regarding the decisions made throughout the filmmaking process.

In this paper I will recount the main stages of the process of making my thesis film Us Against The World, a narrative short film. In particular, I will focus on the authenticity and verisimilitude that I tried to achieve, as well as the limitations I worked under as a student filmmaker with a limited budget and how we consistently tried to use these limitations to our advantage. Starting from the beginning, I will first discuss my main inspirations and the writing process of the script. Secondly, I will explain how my team of creative collaborators and I prepared the project during pre-production. I will furthermore address all key creative aspects, such as directing, cinematography and production design, and describe how we used these to visually translate my story onto screen. After summarizing the post-production process, I will draw a conclusion to evaluate the final film.

In this paper I will discuss, analyze, and explain the process of creating my thesis film, The Mary Janes. I will begin with a discussion of the theme, and continue with explaining each aspect of making the film in relation to that theme. I will recount my greatest challenges during the process. I will also relate my use of knowledge and skills accumulated through study. Finally, I will analyze the outcome of the work of art, and question how well my theme was actualized and understood. I will evaluate the film as whole, including the process of creation, successes and failures, and determine how well I was able to create a clearly articulated story with a strong genre style.

In this paper I will describe the creative process throughout the making of my short film thesis GRAND. I will describe this in three parts: pre-production, wherein I will detail developing the concept, writing the script, and funding/preparing for production; production, wherein I will detail the set construction, visual planning, and the day-to-day operations on set; and post-production, wherein I will detail the editing of the film and the composition of the score. All of this will be framed in reference to the proposed theme of the film, and I will conclude by evaluating whether or not the finished short film achieves what I initially set out to achieve.

In der Praxis der Filmseminare mit Studentinnen und Studenten hat sich gezeigt, dass diese meist nicht über hinreichendes Vorwissen für Filmanalysen verfügen und ihnen auch die Fachbegriffe im Bereich der filmischen Gestaltungsmittel fehlen. Da die Filmanalyse-Seminare allein schon wegen der jedes Universitäts-Zeitraster sprengenden Filmlänge sinnvollerweise als Blockveranstaltungen durchgeführt werden, bekommen die Studenten zur Vorbereitung und als Hilfmittel für eigene Filmanalysen eine grundständige Einführung. Dieses Basiswissen über „Filmsprache und Filmanalyse in der Medienpädagogik“ ist in den letzten zwanzig Jahren immer wieder optimiert worden und wird in der vorliegenden Fassung an der TU Dresden und der Universität Duisburg/Essen eingesetzt. / The experience with film seminars for students has shown that these mostly do not dispose of enough foreknowledge for film analyses and they also lack the technical terms of the cinematic means. Since the length of films blows up each university time slot pattern, and therefore the seminars are conducted as block events, the students get an introduction from scratch in an orientation session as basic knowledge and tools for their own film analysis. This basic knowledge of \"film language and film analysis in the media education\" has been optimized again and again in the last twenty years and is used in the present version at the TU Dresden and the University of Duisburg/Essen.

This paper will detail the making of The Marked, exploring from concept to completion, with special focus on creating a dystopian, science fiction, film with an element of fantasy. I will begin by examining my inspirations. Next, I will explore preproduction, examining screenwriting, casting, location scouting, production, and preparation. Part three will look at production, focusing on directing, production design, cinematography, and on-set operations. Part four will examine post production, including, editing, color correction, sound design, and music. Each element of production will be evaluated to determine if they helped successfully create a believable, dystopian, fantasy story for the viewer. I will also be examining whether the themes I originally sought to explore come across in the film.