Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T15:45:44Z (GMT). No. of bitstreams: 1 Magalhaes_MichelleAgnes_M.pdf: 4441611 bytes, checksum: 2bb1669fdc87df23a2f5e1523d796a6a (MD5) Previous issue date: 2005 / Resumo: Este trabalho tem como propósito a apresentação de um pequeno panorama do movimento futurista italiano e russo no que tange ao aspecto musical, bem como uma análise dos elementos futuristas encontrados na música do filme "Entusiasmo, Sinfonia do Donbass" de Dziga Vertov realizado em 1930 / Abstract: The present dissertation has the purpose of presenting a resumed panorama of the Italian and Russian futurist movements focused on its musical aspects, as well an analysis of the futurist elements found in the film music of "Enthusiasm, Symphony of Donbass" produced in 1930 by Dziga Vertov / Mestrado / Mestre em Música

Most previous studies of Soviet montage cinema have concentrated on its aesthetic and technical aspects; however, montage cinema was essentially a rhetoric rather than an aesthetic of cinema. This thesis presents a comparative study of the leading montage film-makers – Kuleshov, Pudovkin, Eisenstein and Vertov – comparing and contrasting the differing methods by which they used cinema to exert a rhetorical effect on the spectator for the purposes of political propaganda. The definitions of propaganda in general use in the study of Soviet montage cinema are too narrowly restrictive and a more nuanced definition is clearly needed. Furthermore, the role of the spectator in constituting the rhetorical effectivity of a montage film has been neglected; a psychoanalytic model of the way in which the filmic text can trigger a change in the spectator’s psyche is required. Moreover, the ideology of the Soviet montage films is generally assumed to exist only in their content, whereas in classical cinema ideology also operates at the level of the enunciation of the filmic text itself. The extent to which this is also true for Soviet montage cinema should be investigated. I have analysed the interaction between montage films and their spectators from multiple perspectives, using several distinct but complementary theoretical approaches, including recent theories of propaganda, a psychoanalytic model of rhetoric, Lacanian psychoanalysis and the theory of the system of the suture, and Peircean semiotics. These different theoretical approaches, while having distinct conceptual bases, work together to build a new and consistent picture of montage cinema as a propaganda medium and as a form of political rhetoric. I have been able to classify the films of Kuleshov, Eisenstein and Pudovkin as transactive, vertical agitation propaganda and the films of Vertov as transactive, horizontal agitation propaganda. Furthermore, I show that montage cinema embeds ideology in the enunciation of its filmic text, but differs from classical cinema in trying to subvert the suturing process. I conclude that Vertov at least partly created a non-representational cinematography and that he could be regarded as being at least as much a Suprematist film-maker as a Constructivist one.

Made available in DSpace on 2016-12-08T16:59:51Z (GMT). No. of bitstreams: 1 Daniel.pdf: 1707681 bytes, checksum: 4b5e04b9b409690da3ffc27cc2b8065a (MD5) Previous issue date: 2011-12-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the films Man with a movie camera (1929), by Dziga Vertov, and Tokyo-Ga (1985), by Wim Wenders, in their relation to temporality and historicity of the time they were made. At the same time, historical and aesthetic aspects are addressed through historical categories as regime of historicity , proposed by François Hartog, horizon of expectation and space of experience , by Reinhart Koselleck, which are important concepts to understand that the way past, present and future are articulated helps explain certain aspects of a particular temporality. Modernity and postmodernity, memory and forgetting, time acceleration, and sacralization of the past are some of the topics involved in this study, that also highlights similarities and tensions between cinema and history in relation to concepts like truth, legitimacy, production of meaning and representation / Esta dissertação analisa os filmes Um homem com uma câmera (1929), de Dziga Vertov, e Tokyo-Ga (1985), de Wim Wenders, em sua relação com a temporalidade e a historicidade da época em que foram realizados. São abordados paralelamente aspectos históricos e estéticos, sendo utilizadas categorias históricas como regime de historicidade , proposta por François Hartog, horizonte de expectativa e espaço de experiência , de Reinhart Koselleck, conceitos importantes para se compreender que a forma como passado, presente e futuro são articulados ajuda a explicar certos aspectos de uma dada temporalidade. Modernidade e pós-modernidade, memória e esquecimento, aceleração temporal, sacralização do passado são alguns dos tópicos que permeiam esta pesquisa, que também sublinha aproximações e tensões entre cinema e história no que se refere a conceitos como verdade, legitimidade, produção de sentidos e representação