[ES] El mexicano Guillermo del Toro, ha contribuido a enriquecer la estética y mitología del cine fantástico y de terror. Gracias a los seres dentro de sus filmes, e inspirados en los espectros de las pinturas y grabados de Francisco de Goya y Lucientes, el realizador presenta, mediante ensoñaciones maravillosas, los traumas y conflictos que se han arrastrado durante la historia; sobre todo en épocas de conflictos bélicos y sociales. La investigación que aquí se plantea, busca reivindicar el valor estético y ético de la obra de Goya dentro del cine contemporáneo. Así se propone un recorrido iconológico comparativo que rescata la influencia del arte del aragonés en los largometrajes del latinoamericano. / [CA] El director mexicà Guillermo del Toro, ha contribuït a enriquir l'estètica i la mitologia del cinema fantàstic i de terror. Gràcies als éssers dins dels seus films, i inspirats en els espectres pictòrics de les pintures i gravats de Francisco de Goya y Lucientes, el realitzador presenta, mitjançant ensomnis meravellosos, els traumes i conflictes que s'han arrossegat durant la història; sobretot en èpoques de conflictes bèl·lics i socials. La investigació que ací es planteja, vol reivindicar el valor estètic i ètic de l'obra de Goya dins del cinema contemporani. Així es proposa un recorregut iconològic comparatiu que rescata la influència de l'art de l'aragonés en els llargmetratges del llatinoamericà. / [EN] Guillermo del Toro, the Latin American director, has contributed to enriching the aesthetics and mythology of fantasy and horror films. Thanks to the beings in his films, inspired by the pictorial spectrums of the paintings and engravings of Francisco de Goya y Lucientes, the director presents, through fantastic reveries, the traumas and conflicts that have dragged through history, especially in times of war and social conflicts. The research proposed here seeks to vindicate the aesthetic and ethical value of Goya's work within contemporary cinema. Thus, a comparative iconological tour is proposed that rescues the influence of the art of the Aragonese in the Latin-American movies. / Ponce Tarre, JE. (2023). Totalitarismo y ficción. Goya y sus espectros en el cine de Guillermo del Toro [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/194753

[ES] Esta investigación de Tesis tiene como objetivo principal analizar un determinado corpus de producciones de la ciencia ficción cinematográfica reciente. Estas películas parecen compartir unas claves visuales que, lejos de mantener los parámetros tradicionales del género, abordan otras referencias estéticas relacionadas con lo familiar, lo orgánico y lo nostálgico. La investigación comienza con el planteamiento de los objetivos, el marco teórico y las metodologías de trabajo y avanza con la delimitación del corpus y la justificación del mismo. A continuación se profundiza en el género de la ciencia ficción y en el lenguaje visual como herramienta fundamental para abordar la cultura visual reciente. Gracias a esta exploración, se propone una línea temporal de la evolución estética de la ciencia ficción cinematográfica mediante la que definir las corrientes mayoritarias del género, detectando a su vez los giros y propuestas alternativas más relevantes. Al realizar este ejercicio se localizan una serie de producciones de los años sesenta que, por su discurso en torno a la nostalgia y la subjetividad parecen inspirar al corpus actual. A partir de esa información se aborda el análisis del corpus, desde sus elementos conceptuales y narrativos -relacionados con la estética de la dirty scifi- a su expresión formal, precisada en tres claves definidas: lo natural -en un género que tradicionalmente rechaza lo orgánico-, lo espiritual -en tramas definidas por la razón- y lo físico y lo íntimo -que vuelve la mirada del afuera y del futuro al aquí y al ahora-. Por último, al profundizar en estas claves, se exploran determinados elementos que actúan como figuras simbólicas de cada relato. Elementos referidos en este análisis como artefactos que representan visualmente la propuesta conceptual -o novum- de cada película y que, como construcciones diegéticas, permiten ciertas reflexiones sobre el modo en el que la sociedad que las ha diseñado se relaciona con los conceptos de memoria, nostalgia y futuro. Finalmente, las conclusiones dan cuenta de aquello que -previamente planteado en los objetivos iniciales- ha quedado resuelto, de qué preguntas se han podido responder y de qué otras han surgido a partir del análisis realizado. Como resultado, la investigación propone un recorrido que abarca las generalidades de la ciencia ficción cinematográfica y su cualidad simbólica para detectar un impulso estético que, si bien se intuye en la contracultura de los años sesenta, asume hoy una presencia compartida. Esta perspectiva trata de ofrecer al lector un desarrollo explicativo equivalente al desarrollo investigador, de forma que le resulte posible descubrir esta tendencia y reflexionar acerca de cómo sus motivos visuales podrían evidenciar el carácter de su contexto creador. / [CA] Aquesta investigació de Tesi té com a objectiu principal analitzar un determinat corpus de produccions de la ciència-ficció cinematogràfica recent. Aquestes pel·lícules semblen compartir unes claus visuals que, lluny de mantindre els paràmetres tradicionals del gènere, aborden altres referències estètiques relacionades amb allò familiar, orgànic i nostàlgic. La investigació comença amb el plantejament dels objectius, el marc teòric i les metodologies de treball i avança amb la delimitació del corpus i la justificació d'aquest. A continuació s'aprofundeix en el gènere de la ciència-ficció i en el llenguatge visual com a eina fonamental per a abordar la cultura visual recent. Gràcies a aquesta exploració, es proposa una línia temporal de l'evolució estètica de la ciència-ficció cinematogràfica mitjançant la qual definir els corrents majoritaris del gènere, detectant al seu torn els girs i propostes alternatives més rellevants. En realitzar aquest exercici es localitzen una sèrie de produccions dels anys seixanta que, pel seu discurs entorn de la nostàlgia i la subjectivitat semblen inspirar al corpus actual. A partir d'aqueixa informació s'aborda l'anàlisi del corpus, des dels seus elements conceptuals i narratius -relacionats amb l'estètica de la dirty scifi- a la seua expressió formal, precisada en tres claus definides: allò natural -en un gènere que tradicionalment rebutja l'orgànic-, allò espiritual -en trames definides per la raó- i allò físic i íntim -que gira la mirada del fora i del futur a l'ací i a l'ara-. Finalment, en aprofundir en aquestes claus, s'exploren determinats elements que actuen com a figures simbòliques de cada relat. Elements referits en aquesta anàlisi com a artefactes que representen visualment la proposta conceptual -o novum- de cada pel·lícula i que, com a construccions diegétiques, permeten unes certes reflexions sobre la manera en què la societat que les ha dissenyades es relaciona amb els conceptes de memòria, nostàlgia i futur. Finalment, les conclusions donen compte d'allò que -prèviament plantejat en els objectius inicials- ha quedat resolt, de quines preguntes s'han pogut respondre i de quines altres han sorgit a partir de l'anàlisi realitzada. Com a resultat, la investigació proposa un recorregut que abasta les generalitats de la ciència-ficció cinematogràfica i la seua qualitat simbòlica per a detectar un impuls estètic que, si bé s'intueix en la contracultura dels anys seixanta, assumeix hui una presència compartida. Aquesta perspectiva tracta d'oferir al lector un desenvolupament explicatiu equivalent al desenvolupament investigador, de manera que li resulte possible descobrir aquesta tendència i reflexionar sobre com els seus motius visuals podrien evidenciar el caràcter del seu context creador. / [EN] To delimit and analyze a certain corpus of productions of recent cinematographic science fiction is the main objective of this Thesis research. These films seem to share some visual keys that, far from maintaining the traditional parameters of the genre, approach other aesthetic related to familiar, organic and nostalgic references. Research begins with the statement of the objectives, the theoretical framework and the working methodologies and it progresses with the delimitation of the corpus and its justification. It then delves into the genre of science fiction and visual language as a fundamental tool for approaching recent visual culture. Thanks to this exploration, a timeline of the aesthetic evolution of cinematic science fiction is proposed to define the main currents of the genre, detecting in turn the most relevant turns and alternative proposals. In carrying out this exercise, a series of productions from the sixties are located which, due to their discourse on nostalgia and subjectivity, seem to inspire the current corpus. Based on this information, the analysis of the corpus is approached, from its conceptual and narrative elements -related to the aesthetics of dirty sci-fi- to its formal expression, specified in three defined keys: natural -in a genre that traditionally rejects the organic-, spiritual -in plots defined by reason- and physical and intimate -that turns the gaze from the outside and the future to here and now-. Finally, by delving deeper into these keys, we explore certain elements that act as symbolic figures in each story. Elements referred to in this analysis as artifacts that visually represent the conceptual proposal -or novum- of each film and that, as diegetic constructions, allow certain reflections on the way in which the society that has designed them relates to the concepts of memory, nostalgia and future. Finally, the conclusions give an account of what -previously raised in the initial objectives- has been resolved, which questions have been answered and which others have arisen from the analysis carried out. As a result, the research proposes a journey that covers the generalities of cinematic science fiction and its symbolic quality in order to detect an aesthetic impulse that, although intuited in the counterculture of the sixties, assumes today a shared presence. This perspective tries to offer the reader an explanatory development equivalent to the research development, so that it is possible to him or her discover this tendency and reflect on how its visual motifs could evidence the character of its creative context. / Cuenca García, C. (2022). Claves estéticas de la ciencia ficción cinematográfica (2014-2019): la representación de lo otro a través del diseño de producción audiovisual [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190242

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This study explored film as a supplementary aid in teaching adults about HIV/AIDS in the Igueben area of Edo State (Nigeria). It drew on the theory and practice of film to enhance the awareness of HIV/AIDS campaign strategies in ways that are not possible with other teaching aids. The findings of the study supported the literature, which indicates that unlike film,reading materials are not accessible to illiterate adults in rural communities. Two hundred (200) participants were used in the first approach (quantitative), while fifteen (15) illiterate adults were purposively selected from the area to participate in the second approach (qualitative). The research was undertaken within an interpretivist framwork in the sense that it was a communal process informed by participating illiterate adults, and was sensitive to the role of context (Alvermann, D.E., & Mallozzi, C.A. 2010). The study confirmed the role of film, particularly Nigerian movies, in promoting information and education on HIV/AIDS. The findings highlighted the need for on-going education about HIV/AIDS and its treatment, especially among the rural illiterate. The study, in summary established that the programmes offered by HIV/AIDS organisers (governmental and nongovernmental) would be more effective if film is included in the campaign against the disease. / Curriculum and Instructional Studies / D. Ed. (Didactics)

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

This diploma thesis - The image of Italian films in Czechoslovak film journals in years 1965- 1975 is devoted to the manner of display, presentation and evaluation of Italian cinematography in the magazines Kino and Film a doba. The first part of this work describes the social and political environment in Czechoslovakia and in Italy, with an emphasis on culture, film and print media. The attention is focused on the end of the 1960's, when in Czechoslovakia the totalitarian political development was strengthened after an effort to democratize society, whilst in Italy the democratic development of the capitalist society was maintained, despite the pressures of the left-wing forces. The analytical part of the thesis uses qualitative methods and examines the contents of articles in the chosen periodicals. It follows the arguments of film publicists and critics and reveals how the social atmosphere and movements was portrayed by Italian filmmakers. The work focuses on analyzing the articles about Italian movies of different genres and styles, to which film themes was given more space, how was reviewed the work of filmmakers and actors and how was characterized the Italian cinema in general. The conclusion of the thesis summarizes the results of the analysis in the context of the political situation in...

Made available in DSpace on 2016-04-26T18:16:08Z (GMT). No. of bitstreams: 1 Arthur M S Neto.pdf: 3667102 bytes, checksum: fff2b7c5390f256c23e6d208e3c8320d (MD5) Previous issue date: 2007-05-10 / The present study investigates the construction of effects of sense of justice in Hollywood movies, more specifically those that have as main plot courtroom trials. The relevance of the work surfaces from the influence that the cultural production, directed towards the mass exerts has in the setting of ideologies and the maintenance of the legal institutions as source of coordination of the conviviality in society. Through the analysis of the simulacrum of judgments personified in the films and it focus on the tension between justice and law, the work reconstructs the different impressions of reality produced by our senses and discuss how the reception of this effect of sense of justice is made by the spectator. Considering that the central problematic of the work was the analysis of the sense produced in the films, it was proved that the methodology of the gerative course of sense based on the Discursive Semiotics from Algirdas Julien Greimas and its collaborators, would be of great use as a source for our investigation process. We privilege as selected corpus, the deconstruction of the films, displaying sequences that summarized the essence of all the sense of the text, those were occur the description of the legal facts in ponder and its developments until the outcome of the workmanship. The selection and cuts of the research corpus uses as parameters: the similarity of themes between the pictures, corroborating with the proposal of scientific interdisciplinary; the production s reach (public); the model of construction; the explicit invariable aspects and dissimilarities in the discursive level between the films. For this reason, the searched corpus is composed by the films A Few Good Men (Questão de Honra, 1992), And Justice for All (Justiça para Todos, 1979) and Primal Fear (Duas Faces de um Crime, 1996), Sacco e Vanzetti (Sacco e Vanzetti, 1971). By the film analyses, for the effect of sense of justice, the category of just must became a evidence of the truth inside the legal procedure. Moreover, it was observed that, independent of the effect of sense of justice enunciated in the basic level, the values that the social ordinance always keeps are gifts / O presente estudo investiga a construção de efeitos de sentido de justiça nos filmes hollywoodianos com temática de julgamento. A relevância do trabalho surge da influência que a produção cultural voltada para a massa exerce na fixação de ideologias e na manutenção das instituições jurídicas como fonte de coordenação do convívio em sociedade. A partir do simulacro de julgamentos reproduzidos pelos filmes, focando na tensão entre justiça e direito, o trabalho revela a construção das diferentes impressões de realidade produzidas pelos nossos sentidos, discutindo como se dá a recepção desses efeitos de sentido de justiça. Uma vez que a problemática central do trabalho foi a análise da produção de sentido nos filmes, evidenciouse a necessidade de se estudar o percurso gerativo de sentido. Assim, a pesquisa teve como fundamento o arcabouço teórico e metodológico da Semiótica Discursiva, proposto por Algirdas Julien Greimas e seus colaboradores. Privilegiamos neste estudo, para a análise do corpus selecionado, a desconstrução dos filmes, elencando a sequência fílmica que resumisse a essência do todo de sentido do texto, aquela em que se tem uma descrição dos fatos jurídicos em discussão e seu desenvolvimento até o desfecho da obra. A seleção e recorte do corpus de pesquisa teve como parâmetros: a temática semelhante entre os filmes, corroborando com a proposta de interdisciplinariedade científica; o alcance da produção; o modelo de construção; as invariantes e dessemelhanças explícitas no nível discursivo entre os filmes. Dessa forma, o corpus pesquisado compreende os filmes Questão de honra (A Few Good Men, 1992), Justiça para todos (... And Justice for All, 1979) e Duas faces de um crime (Primal Fear, 1996) Hollywood e Sacco e Vanzetti (Sacco e Vanzetti, 1971). Por meio das análises fílmicas, atestou-se que, para o efeito de sentido de justiça, o justo deve estar ligado à evidência da verdade dentro do procedimento legal. Além disso, observou-se que, independente do efeito de sentido de justiça enunciado, no nível fundamental os valores que mantém a ordenação social sempre estão presentes

Depuis 2004, le Maroc a opté pour des partenariats public-privé pour augmenter le nombre de productions cinématographiques, et le montant budgétaire de quelques productions dans l’espoir d’avoir des films à haute qualité internationale. Dix ans après, le nombre des films produits est en augmentation devant un déclin du nombre de salles suite à la baisse des recettes. Devant ce constat, il devient nécessaire d’évaluer les projets choisis pour ce Partenariat, leurs sorties commerciales et par conséquent du travail du centre cinématographique représentant l’Etat, et de ses diverses commissions qui sélectionnent les films. Cette thèse évalue ces films produits en partenariat avec l’Etat en suivant la méthode d’analyse SWOT pour chacun des films bénéficiant de ce PPP. Chaque deux ans, la commission qui choisit les films produits en partenariat, est renouvelée. Cette commission, désignée par le ministre de tutelle, vient en grande partie de milieux politiques, ou idéologiques qui affecteront leurs choix des thématiques et aussi des traitements des histoires. Une synthèse des analyses SWOT des films choisis lors de chaque commission permet l’évaluation de son travail. Une synthèse générale des résultats des dix ans permet d’évaluer le dispositif en lui-même, le mode et les critères de sélection. Dans cette thèse, nous allons aussi investiguer le travail de l’Etat via le CCM pour remédier à ce constat, et les résultats des actions entreprises.En effet, mettre l’accent sur les obstacles handicapant les productions bénéficiant du PPP, permettrait une meilleure réorganisation des structures de ce fonds de Partenariat pour réussir les productions futures. Pour ce, après l’étude d’autres modèles de politiques culturelles cinématographiques de pays qui ont mieux réussi les sorties des films, cette thèse présente des propositions de restructuration du fonds de soutien au cinéma au Maroc. / Since 2004, the Moroccan government launched public-private partnerships (PPP) to increase the number of film productions, and leverage up the corresponding budgets in the aim for higher film and media quality. Ten years later, the number of films produced has increased, yet the gross income has dropped down, along with the number of movie theaters. In regard to the listed outcomes, reviewing the projects selected to benefit from state financial support, as well as the film release campaigns, and consequently the work of the Moroccan Cinematographic Center (CCM), the state Agency in charge of the selection and financial support of film projects, became an urgent necessity. The present thesis aims to evaluate the films produced in partnership with the State, based on a SWOT analysis method.The commission in charge of the film selection for the PPP support is renewed every two years. The ministry of communication and culture based on different criteria appoints this commission’s members. Among these criteria are the political and ideological beliefs, which indirectly influence the choice of the theme and the movie project to pick and put up front for the PPP sponsorship program.A summary of the two years' period SWOT analysis for the selected films helps evaluate the commission’s work. A more in depth study over the past ten years, yields a synthesis of the SWOT results for each of the movie projects reviewed. This synthesis allowed questioning the criteria, and the process of selection used by the CCM and thus the quality of its work. The present thesis will consequently, investigate the effectiveness of this state agency and highlight the corrective actions implemented by the state to remediate to the actual situation, then conclude with the results of these actions.Evaluating the Strengths, weaknesses, threats and opportunities of each and every film project as whole will certainly enable a better organization of the state funding, and thus help future productions success, making the funding purpose come true. Based on the study of several successful models in different countries, this thesis, suggests a new strategy to restructure the film support fund in Morocco, in order for a better commercial outcome of the film industry in Morocco.