A presente dissertação busca radiografar a realização de \"São Paulo Sociedade Anônima\" (que teve o título provisório \"Agonia\"), escrito e dirigido por Luiz Sérgio Person. O filme foi produzido em 1964 pela Sòcine Cinematográfica Ltda., fundada por Renato Magalhães Gouvea, e lançado em 1965. A pesquisa concentrou-se no arquivo do produtor, que tem um material quase totalmente original, que vai da lista dos acionistas até as mais de 30 críticas, inclusive da imprensa italiana, além de entrevistas e depoimentos inéditos de Person. O material complementar foi obtido na biblioteca da Cinemateca Brasileira. A partir das leituras, foram realizadas entrevistas com o próprio Renato, com o montador Glauco Mirko Laurelli e com a atriz Ana Esmeralda. \"São Paulo Sociedade Anônima\", além de suas qualidades artísticas, teve um modelo diferenciado e profissional de produção e, principalmente, de marketing. Para completar, fiz a proposta estética de remontar o filme, colocando a narrativa original, de flashbacks, em ordem cronológica sequencial e acrescentando-se trecho da poesia \"Agonia\", de Vinicius de Moraes, que serviu de inspiração para Person. / This dissertation tries to radiograph the realization of \"São Paulo Sociedade Anônima\" (originally titled Agonia), a motion picture wrote and directed by Luiz Sérgio Person. Sòcine Cinematográfica Ltda. (founded by Renato Magalhães Gouvea) produced the film in 1964 by and released it in 1965. The research focused on the producer files, an almost completely original material, from the shareholders list to more than 30 newspapers including Italian newspapers critics reviews, besides unpublished Persons interviews and declarations. The Library of Cinemateca Brasileira provided complimentary material. From those readings, interviews were made with Renato Magalhães Gouvea, the film editor Glauco Mirko Laurelli and actress Ana Esmeralda. Besides its artistic features, \"São Paulo Sociedade Anônima\" showed a differentiated and professional production and, mainly, a marketing model. Finally, the author of this dissertation presents the aesthetic proposal of re-editing the film, arranging in sequential chronological order the original narrative, compounded of flashbacks, and including a fragment of Vinicius de Moraes poem \"Agonia\", which inspired Person.

A presente dissertação busca radiografar a realização de \"São Paulo Sociedade Anônima\" (que teve o título provisório \"Agonia\"), escrito e dirigido por Luiz Sérgio Person. O filme foi produzido em 1964 pela Sòcine Cinematográfica Ltda., fundada por Renato Magalhães Gouvea, e lançado em 1965. A pesquisa concentrou-se no arquivo do produtor, que tem um material quase totalmente original, que vai da lista dos acionistas até as mais de 30 críticas, inclusive da imprensa italiana, além de entrevistas e depoimentos inéditos de Person. O material complementar foi obtido na biblioteca da Cinemateca Brasileira. A partir das leituras, foram realizadas entrevistas com o próprio Renato, com o montador Glauco Mirko Laurelli e com a atriz Ana Esmeralda. \"São Paulo Sociedade Anônima\", além de suas qualidades artísticas, teve um modelo diferenciado e profissional de produção e, principalmente, de marketing. Para completar, fiz a proposta estética de remontar o filme, colocando a narrativa original, de flashbacks, em ordem cronológica sequencial e acrescentando-se trecho da poesia \"Agonia\", de Vinicius de Moraes, que serviu de inspiração para Person. / This dissertation tries to radiograph the realization of \"São Paulo Sociedade Anônima\" (originally titled Agonia), a motion picture wrote and directed by Luiz Sérgio Person. Sòcine Cinematográfica Ltda. (founded by Renato Magalhães Gouvea) produced the film in 1964 by and released it in 1965. The research focused on the producer files, an almost completely original material, from the shareholders list to more than 30 newspapers including Italian newspapers critics reviews, besides unpublished Persons interviews and declarations. The Library of Cinemateca Brasileira provided complimentary material. From those readings, interviews were made with Renato Magalhães Gouvea, the film editor Glauco Mirko Laurelli and actress Ana Esmeralda. Besides its artistic features, \"São Paulo Sociedade Anônima\" showed a differentiated and professional production and, mainly, a marketing model. Finally, the author of this dissertation presents the aesthetic proposal of re-editing the film, arranging in sequential chronological order the original narrative, compounded of flashbacks, and including a fragment of Vinicius de Moraes poem \"Agonia\", which inspired Person.

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This dissertation examines the representations of Casablanca in Moroccan cinema and their articulation of postcolonial subjectivity since the 1990s. To overcome a deep economic recession and simmering social unrest in the early 1980s, Morocco embarked on a comprehensive programme of structural adjustment policies under the aegis of the International Monetary Fund. Market reforms ushered in novel forms of spatial development and social relations in Moroccan cities over the next decades. In the cultural field, a popular cinema emerged in the early 1990s and has projected the complex structures of everyday life in urban space. The New Urban Cinema (NUC) has anchored national cinema in the everyday life and affective economy of a society in transition. The country’s largest city, Casablanca, is the setting for some of NUC’s most original portrayals of the Moroccan subject under globalisation. Taking space, affect and violence as intertwined sites of film analysis, my research project closely examines the new forms of postcolonial subjectivity that have evolved in Morocco through this cinema. Twenty films are read against the backdrop of neoliberal Casablanca and the social, economic as well as political transformation of Morocco and the world under globalisation. The dissertation combines close textual analysis with a cultural studies perspective, which situates films in their historical contexts of production and reception in Morocco and beyond. Drawing on postcolonial, film and urban studies, my aim is to contribute to interdisciplinary scholarship on cinematic responses to neoliberal globalisation, and to a social history of contemporary Morocco.