Este trabalho se dispõe a investigar o uso da cor no cinema silencioso do Brasil. Para isso, toma como fontes documentais tanto objetos fílmicos remanescentes quanto documentação e bibliografia diversas existentes sobre o assunto. Um primeiro capítulo será dedicado aos processos de colorização existentes no cinema silencioso, de uma forma geral, e a questões técnicas e estéticas relacionadas a esses processos: o contexto histórico em que surgiram as técnicas de colorização no cinema, suas origens em meios diversos, as características dessas técnicas de colorização e sua presença nos mercados cinematográficos mais conhecidos, as questões suscitadas pelo uso da cor e seus desdobramentos. No segundo capítulo, tentaremos mapear nossa prática e nossas discussões acerca da cor nos filmes do período silencioso: quais são as informações acerca das técnicas que utilizamos e da real presença de filmes coloridos em nossas sessões cinematográficas e da cor nos filmes que estávamos produzindo? Como as questões colocadas internacionalmente ecoaram no Brasil e quais foram as questões específicas que surgiram aqui? No último capítulo, trataremos mais especificamente da análise de filmes de nossa filmografia, ou seja, dos materiais em nitrato de época colorizados ainda existentes e inspecionados para esta pesquisa. Levantaremos e discutiremos as técnicas de colorização e as funções do uso da cor encontradas nesta filmografia. / This dissertation seeks to investigate the use of color in Brazil\'s silent cinema. In order to do so, it relies on documentary sources such as remaining nitrate itens and diverse existing documentation and literature on the subject. A first chapter will be devoted to existing processes in silent film colorization, in general, and to the technical and aesthetic issues related to these processes: the historical context in which the techniques of colorization arose in film, its origins in various media, the characteristics of these techniques and its presence on the most known film markets, the issues raised by the use of color and its aftermath. In the second chapter, we will attempt to map our practice and our discussions relative to color in films of the silent era: what is the information concerning the techniques we utilize and the real presence of colored movies in our cinematographic sessions and of color in movies that we were producing? In what way the questions internationally raised echoed in Brazil and what were the specific issues that have arisen here? In the last chapter, we will deal more specifically with the analysis of movies from our filmography, that is, of the colorized nitrate itens still existing and inspected for this research. We will raise and discuss techniques for coloring and functions of the use of color found in this filmography

Este trabalho se dispõe a investigar o uso da cor no cinema silencioso do Brasil. Para isso, toma como fontes documentais tanto objetos fílmicos remanescentes quanto documentação e bibliografia diversas existentes sobre o assunto. Um primeiro capítulo será dedicado aos processos de colorização existentes no cinema silencioso, de uma forma geral, e a questões técnicas e estéticas relacionadas a esses processos: o contexto histórico em que surgiram as técnicas de colorização no cinema, suas origens em meios diversos, as características dessas técnicas de colorização e sua presença nos mercados cinematográficos mais conhecidos, as questões suscitadas pelo uso da cor e seus desdobramentos. No segundo capítulo, tentaremos mapear nossa prática e nossas discussões acerca da cor nos filmes do período silencioso: quais são as informações acerca das técnicas que utilizamos e da real presença de filmes coloridos em nossas sessões cinematográficas e da cor nos filmes que estávamos produzindo? Como as questões colocadas internacionalmente ecoaram no Brasil e quais foram as questões específicas que surgiram aqui? No último capítulo, trataremos mais especificamente da análise de filmes de nossa filmografia, ou seja, dos materiais em nitrato de época colorizados ainda existentes e inspecionados para esta pesquisa. Levantaremos e discutiremos as técnicas de colorização e as funções do uso da cor encontradas nesta filmografia. / This dissertation seeks to investigate the use of color in Brazil\'s silent cinema. In order to do so, it relies on documentary sources such as remaining nitrate itens and diverse existing documentation and literature on the subject. A first chapter will be devoted to existing processes in silent film colorization, in general, and to the technical and aesthetic issues related to these processes: the historical context in which the techniques of colorization arose in film, its origins in various media, the characteristics of these techniques and its presence on the most known film markets, the issues raised by the use of color and its aftermath. In the second chapter, we will attempt to map our practice and our discussions relative to color in films of the silent era: what is the information concerning the techniques we utilize and the real presence of colored movies in our cinematographic sessions and of color in movies that we were producing? In what way the questions internationally raised echoed in Brazil and what were the specific issues that have arisen here? In the last chapter, we will deal more specifically with the analysis of movies from our filmography, that is, of the colorized nitrate itens still existing and inspected for this research. We will raise and discuss techniques for coloring and functions of the use of color found in this filmography

A presente pesquisa tem como objetivo pensar o cinema de George Méliès, na virada do século XIX para o século XX, como um prisma através do qual refratam-se espectros da modernidade, ou seja, elementos recorrentes em seus filmes que desdobravam questões caras àquele período, e que se ressignificam de diferentes maneiras à luz da chamada pós-modernidade. / The present research aims to think George Méliès' films, at the turn of the nineteenth century for the twentieth century, as a prism through which refracted specters of modernity, that is, recurring elements in his films, each one unfolding differente meanings about that period, and each one of them ressignfying themselves in different ways in the light of the so-called postmodernity.

In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema's business model in the 'transitional era,' various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer-goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket prices, advertising circulation, audience irritation, and the potential for theatrical 'suicide-by-advertising,' resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories.

In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema's business model in the 'transitional era,' various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer-goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket prices, advertising circulation, audience irritation, and the potential for theatrical 'suicide-by-advertising,' resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories.

A presente pesquisa tem como objetivo pensar o cinema de George Méliès, na virada do século XIX para o século XX, como um prisma através do qual refratam-se espectros da modernidade, ou seja, elementos recorrentes em seus filmes que desdobravam questões caras àquele período, e que se ressignificam de diferentes maneiras à luz da chamada pós-modernidade. / The present research aims to think George Méliès' films, at the turn of the nineteenth century for the twentieth century, as a prism through which refracted specters of modernity, that is, recurring elements in his films, each one unfolding differente meanings about that period, and each one of them ressignfying themselves in different ways in the light of the so-called postmodernity.

A presente pesquisa tem como objetivo pensar o cinema de George Méliès, na virada do século XIX para o século XX, como um prisma através do qual refratam-se espectros da modernidade, ou seja, elementos recorrentes em seus filmes que desdobravam questões caras àquele período, e que se ressignificam de diferentes maneiras à luz da chamada pós-modernidade. / The present research aims to think George Méliès' films, at the turn of the nineteenth century for the twentieth century, as a prism through which refracted specters of modernity, that is, recurring elements in his films, each one unfolding differente meanings about that period, and each one of them ressignfying themselves in different ways in the light of the so-called postmodernity.

Deslocar a tônica dos estudos acerca da cinematografia paraibana dos anos 1960 (via advento do filme Aruanda) para os primórdios do século XX é o ponto de partida deste trabalho que empreendeu imersão em período da história até então não revisitado por pesquisas transformadas em documentos acadêmicos (dissertações, teses). Nessa linha e com esta perspectiva, o trabalho se propõe a responder uma questão central em torno da gênese da formação dessa cinematografia, marcada por uma singularidade deflagrada nos anos 1920: a filiação ao registro e produção de imagens em movimento do real, em contraposição ao gênero ficcional (posado), amplamente experimentado por demais ciclos cinematográficos do país no mesmo período. Revisitar o cinema silencioso paraibano permitiu, pela primeira vez na história, demonstrar ter sido este ciclo o efetivo marco zero da cinematografia local, fundada no código e na narrativa documental através de Walfredo Rodriguez, o primeiro cineasta. Procede-se a um reposicionamento de fatos, filmes e personagens obliterados ao longo de décadas para compreender a complexidade cultural envolvida no processo. O viés documental das imagens silenciosas vai se converter em gênero de expressão hegemônico no âmbito do moderno documentário brasileiro (1960) e ao longo de todo o século passado, com ressonâncias ainda presentes nas práticas audiovisuais paraibanas; a contemporaneidade das primeiras incursões, com ramificações, matrizes e mediações fundadas no campo da cultura nas décadas 1910/1930, fertilizou o campo das práticas audiovisuais, estabelecendo nexos geracionais e seu sentido de permanência na história do cinema brasileiro. / Move the tone of the studies on the Paraiba cinematography 1960s (via advent of Aruanda film) to the beginning of the twentieth century is the starting point for this work he has undertaken immersion period of history hitherto revisited by transformed research in academic documents (dissertations, theses). In this line and with this perspective, the study aims to answer a central question surrounding the genesis of the formation of this cinematography, marked by a singularity triggered in the 1920s: a membership to registration and real moving image production, as opposed to fictional genre (posed), widely experienced by other film cycles of the country in the same period. Revisit the silent cinema Paraiba allowed for the first time in history, demonstrate this cycle have been effective ground zero of the local film industry, based on code and documentary narrative through Walfredo Rodriguez, the first filmmaker. Proceeds to a repositioning of facts, movies and characters obliterated for decades to understand the cultural complexity involved in the process. The documentary bias of silent pictures will turn into hegemonic expression of gender in the modern Brazilian documentary (1960) and throughout the last century, with still present resonances in Paraíba audiovisual practices; contemporaneity of the first incursions, with branches, headquarters and mediations founded in culture in the decades 1910/1930, fertilized the field of audiovisual practices, establishing generational links and your sense of permanence in the history of Brazilian cinema.

This thesis – ‘Cinema on the Front Line: A History of Military Cinema Exhibition and Soldier Spectatorship during the First World War’ - provides an overview and examination of an element of British cinema history that remains largely undocumented within the disciplines of Film Studies and military history. Built upon highly original and extensive research, the thesis documents how the cinema intersected with the lives of British and dominion soldiers at practically every stage of their military career: from recruitment drives to the front line and, finally, in the convalescent hospitals and camps that attempted to rehabilitate an entire generation. By bringing this largely unknown history to light, the thesis dismantles many previously held assumptions regarding British cinema exhibition during the First World War, documenting how a significant percentage of the cinema-going public – British soldiers – still engaged with cinema entertainment outside of the commercial theatrical venue. As a study of historical exhibition, it documents the scale and orchestration of the British Expeditionary Force’s implementation of cinema entertainment on the Western front between 1914 and 1918. Significantly, it is also argued that, as a historically specific demographic, British soldiers represented an actively discerning and uniquely positioned body of wartime spectators, particularly in relation to the output of topical films and newsreels which purported to document the realities of the conflict. Accounting for this hidden history of wartime film spectatorship within extraordinary and unconventional sites of exhibition, the thesis challenges established ideas regarding the practices and concerns of film exhibitors, the behaviour and preferences of wartime audiences, and the significance and impact of the material conditions in which films were exhibited.

Deslocar a tônica dos estudos acerca da cinematografia paraibana dos anos 1960 (via advento do filme Aruanda) para os primórdios do século XX é o ponto de partida deste trabalho que empreendeu imersão em período da história até então não revisitado por pesquisas transformadas em documentos acadêmicos (dissertações, teses). Nessa linha e com esta perspectiva, o trabalho se propõe a responder uma questão central em torno da gênese da formação dessa cinematografia, marcada por uma singularidade deflagrada nos anos 1920: a filiação ao registro e produção de imagens em movimento do real, em contraposição ao gênero ficcional (posado), amplamente experimentado por demais ciclos cinematográficos do país no mesmo período. Revisitar o cinema silencioso paraibano permitiu, pela primeira vez na história, demonstrar ter sido este ciclo o efetivo marco zero da cinematografia local, fundada no código e na narrativa documental através de Walfredo Rodriguez, o primeiro cineasta. Procede-se a um reposicionamento de fatos, filmes e personagens obliterados ao longo de décadas para compreender a complexidade cultural envolvida no processo. O viés documental das imagens silenciosas vai se converter em gênero de expressão hegemônico no âmbito do moderno documentário brasileiro (1960) e ao longo de todo o século passado, com ressonâncias ainda presentes nas práticas audiovisuais paraibanas; a contemporaneidade das primeiras incursões, com ramificações, matrizes e mediações fundadas no campo da cultura nas décadas 1910/1930, fertilizou o campo das práticas audiovisuais, estabelecendo nexos geracionais e seu sentido de permanência na história do cinema brasileiro. / Move the tone of the studies on the Paraiba cinematography 1960s (via advent of Aruanda film) to the beginning of the twentieth century is the starting point for this work he has undertaken immersion period of history hitherto revisited by transformed research in academic documents (dissertations, theses). In this line and with this perspective, the study aims to answer a central question surrounding the genesis of the formation of this cinematography, marked by a singularity triggered in the 1920s: a membership to registration and real moving image production, as opposed to fictional genre (posed), widely experienced by other film cycles of the country in the same period. Revisit the silent cinema Paraiba allowed for the first time in history, demonstrate this cycle have been effective ground zero of the local film industry, based on code and documentary narrative through Walfredo Rodriguez, the first filmmaker. Proceeds to a repositioning of facts, movies and characters obliterated for decades to understand the cultural complexity involved in the process. The documentary bias of silent pictures will turn into hegemonic expression of gender in the modern Brazilian documentary (1960) and throughout the last century, with still present resonances in Paraíba audiovisual practices; contemporaneity of the first incursions, with branches, headquarters and mediations founded in culture in the decades 1910/1930, fertilized the field of audiovisual practices, establishing generational links and your sense of permanence in the history of Brazilian cinema.