Procuramos no presente trabalho verificar em que medida o álbum fotográfico Brasil pode ser considerado um caso exemplar da dimensão visual brasileira das décadas de 1940 e 1950 quanto à representação do país nesse tipo de suporte específico. Ao sintetizar diversas identidades visuais regionais, segundo um discurso articulado entre o editor, fotógrafos e consumidores, o álbum fotográfico configura-se como um documento visual privilegiado para entendermos as imagens-ícones dessa sociedade, sendo seu conjunto a iconosfera. A fim de ratificarmos o discurso visual desse álbum, analisamos outras bases documentais como revistas ilustradas, livros didáticos e mesmo outros álbuns fotográficos, com o objetivo de identificar um rol de imagens recorrentes em diversos suportes visuais suas ocorrências em Brasil. Para tal proposta, utilizamos instrumentos metodológicos oriundos de outros estudos, denominados de descritores icônicos e formais, para dar conta da análise imagética. / The aim of this work was to check if the Brasil photo album can be considered an exemplary case of Brazilian visual dimension of the 1940s and 1950s as the country\'s representation in this type of specific support. By synthesizing various regional visual identities, according to an articulated discourse between the editor, photographers and consumers, the photo album appears as a visual document privileged to understand the iconic images of that society, and the whole iconosfera. In order to ratify the visual discourse of this album, we analyzed other documents as illustrated magazines, textbooks and even other photo albums, with the aim of identifying a list of recurring images in different visual media in their occurrence Brasil. For this proposal, we use methodological tools from other studies, called iconic and formal descriptors for the imagery analysis.

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Submitted by Edinaldo Aparecido Santos de Lima (limasantos91@gmail.com) on 2018-11-19T20:27:07Z No. of bitstreams: 1 LIMA, Edinaldo Ap. Santos de._PREPARAR APONTAR FOTO -.pdf: 7888979 bytes, checksum: ebd63a727287e5f01325f8687e6bf03c (MD5) / Approved for entry into archive by Maria Luiza Carpi Semeghini (luiza@assis.unesp.br) on 2018-11-19T23:14:21Z (GMT) No. of bitstreams: 1 lima_eas_me_assis_int.pdf: 7888979 bytes, checksum: ebd63a727287e5f01325f8687e6bf03c (MD5) / Made available in DSpace on 2018-11-19T23:14:21Z (GMT). No. of bitstreams: 1 lima_eas_me_assis_int.pdf: 7888979 bytes, checksum: ebd63a727287e5f01325f8687e6bf03c (MD5) Previous issue date: 2018-09-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Gestado nas matas da Sierra Maestra, em meio aos conflitos entre rebeldes e a ditadura de Fulgencio Batista (1952-1958), o jornal Revolución dirigido por Carlos Franqui cumpria o papel de divulgar as conquistas e os ideais dos insurgentes. Com o triunfo da Revolução em 1959, o periódico deixou a clandestinidade e tornou-se um influente veículo de informação do período. Nele trabalharam vários profissionais entre os quais, fotógrafos cujos frutos de suas produções cooperaram na eternização da Revolução como um dos eventos significativos do século XX. Depois dessa virada histórica, os holofotes dos principais meios de comunicação do mundo passaram a dedicar maior atenção aos passos que seriam dados por aquele país. Logo nos primeiros meses, o jovem governo revolucionário encetou uma série de reformas em vários âmbitos da sociedade, sobretudo em regiões rurais onde predominaram durante décadas a pobreza e a ausência de serviços básicos como educação e saúde. Diante das lentes dos fotógrafos de Revolución, os camponeses cubanos passaram a ter suas condições de vida e seus rostos propagados por toda a Ilha, ao passo em que um imaginário sobre si era construído no intuito de sensibilizar, conscientizar e mobilizar a sociedade, principalmente dos centros urbanos, a participarem do processo de mudanças sociopolíticas do país. Porém, os resultados obtidos a partir da meticulosa análise quantitativa e qualitativa do montante de fotografias presentes tanto no jornal quanto no seu suplemento Campo de Revolución, organizadas e catalogadas mostraram que a moldagem desse imaginário não fora unívoca ou rígida, pois a realidade histórica vivida intensamente pelos cubanos nos primeiros três anos tornou-a flexível. Além disso, a metodologia empregada na análise das fotografias permitiu-nos discutir outros assuntos inerentes ao universo rural cubano. / Raised in the forests of the Sierra Maestra, amid conflicts between rebels and the dictatorship of Fulgencio Batista (1952-1958), the newspaper Revolución led by Carlos Franqui played the role of publicizing the achievements and ideals of the insurgents. With the triumph of the Revolution in 1959, the newspaper left the clandestine and became an influential vehicle of information of the period. In it worked several professionals among whom, photographers whose fruits of their productions cooperated in the eternalization of the Revolution like one of the significant events of century XX. After this historic turnaround, the spotlight of the world's mainstream media began to pay more attention to the steps that would be taken by that country. In the early months, the young revolutionary government embarked on a series of reforms in various areas of society, particularly in rural areas where poverty and lack of basic services such as education and health prevailed for decades. Faced with the lenses of the photographers of Revolución, the Cuban peasants began to have their living conditions and their faces propagated throughout the Island, while an imaginary about themselves was built in order to raise awareness, raise awareness and mobilize society, especially the urban centers to participate in the process of socio-political changes in the country. However, the results obtained from the meticulous quantitative and qualitative analysis of the amount of photographs present in both the newspaper and its Campo de Revolución supplement, organized and cataloged, showed that the molding of this imagery was not unequivocal or rigid, since the historical reality lived intensely by Cubans in the first three years made it flexible. In addition, the methodology used in the analysis of the photographs allowed us to discuss other subjects inherent to the Cuban rural universe.

Made available in DSpace on 2016-12-08T17:00:00Z (GMT). No. of bitstreams: 1 Tati1.pdf: 2302113 bytes, checksum: dcdd85346ff3c014bfc69e2889d49545 (MD5) Previous issue date: 2010-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work researches elderly memory narratives, composed by relationships involving personal photographs and reminds. Starting from a cultural project experience, developed between the years of 2007 and 2008, at Londrina, Paraná state, where each person built a memories álbum collecting photos, handwrites and hand skills in order to arrange an artistic narrative about life experiences. This process was also registered on vídeo in order to edit documentaries about relapsed subjects which expressed generation identifications: most of the participants were women who lived, some time of their lives, a transition from rural to urban places, starting from the second half of twentieth century, and shared life experiences living at countryside farms of the Paraná and São Paulo states. The materials generated in the cultural action set up the research sources, which counted on also a qualitative research through interviews involving three participants from the cultural action. The research s results express some methodology purposes for historical work which can open the research field to the cultural action. Purposes about work with photographs as interviews investigation tools, and as results exhibition, are traced as sensitive ways to research and work with elderly. This work also draws research results possibilities of circulation by several medias from the contemporary visual (and sonorous) regimes / O presente trabalho investiga narrativas de memória por pessoas idosas, compostas a partir das relações que envolvem fotografias pessoais e lembranças por elas despertadas. Parte-se da experiência de um projeto cultural desenvolvido em 2007 e 2008, na cidade de Londrina, Paraná, onde cada pessoa construiu um álbum de memórias agregando fotos, escritas e habilidades manuais na arte de compor uma narrativa sobre experiências de vida. O processo também foi registrado em vídeo para a edição de documentários sobre temáticas reincidentes que expressavam identificações geracionais: a maioria das participantes eram mulheres que viveram, em algum momento de suas vidas, uma transição rural-urbana a partir da segunda metade do século XX e que compartilhavam experiências vividas em sítios do interior dos estados do Paraná e São Paulo. Os materiais gerados na ação cultural constituíram fontes para a pesquisa, que contou também com um aprofundamento qualitativo através de entrevistas com a colaboração de três participantes da ação cultural. Os resultados da pesquisa expressam algumas propostas metodológicas para o trabalho em história que possam abrir o campo da pesquisa à ação cultural. Propostas para se trabalhar fotografias como ferramentas de investigação em entrevistas, e de exposição de resultados, são traçadas como caminhos de sensibilidade para se pesquisar e trabalhar com pessoas idosas. O trabalho delineia algumas possibilidades de circulação dos resultados da pesquisa por uma diversidade de meios afinados ao contemporâneo regime de (áudio) visualidade

Made available in DSpace on 2015-05-14T12:23:21Z (GMT). No. of bitstreams: 1 parte1.pdf: 2146699 bytes, checksum: 88fe3dffd1c34b00963a7bfa965ad28f (MD5) Previous issue date: 2007-05-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The purpose of the present work is to emphasize the thematic aspects of the relationship between History and Art-naïf in Paraiba, involving the second half of the 20Th century. The work is based on analysis of the works of four living artists from Paraiba Alexandre Filho, Tadeu Lira, Isa Galindo and Analice Uchôa each one of them representing one of the following decades, studied respectively: 1960 s, 1970 s 1980 s and 1990 s. The goal of the research is to comprehend the main features that constitute this kind of artistic proposal, taking into account its syntax, its morphology, and its anthropological aspects, as well as the artistic and historical elements stemming from the relationship between the artists biographies and the making of their artistic work. The research also discusses possible ways of studying the Art-naïf as a historiography source from an analysis of the images provided by these artists who have been both nationally and internationally acclaimed. The present research is based on a broad cultural historical context, establishing a dialogue between the oral history, present time history, visual history and the history of everyday life considering the possible connections between the anthropology of the image and the science of the imaginary. At the outcome of this work, one can infer that Art-naïf is a visual poetic consolidated in our contemporary world, giving, at the same time, no sign of being diminished as one can see by observing the steady production of living artists and that of the new generation. The Paraiba Art-naïf integrated itself within the Modern Brazilian visual production, maintaining constant relationship with present-day signs, influencing and being influenced by the ever so frequent inter-cultural dialogues provided by Contemporary Art. / Este trabalho tem como temática o estudo das relações entre a história e a arte naїf paraibana, com um recorte temporal que compreende a segunda metade do século XX. Partimos da análise da obra de quatro artistas paraibanos vivos: Alexandre Filho, Tadeu Lira, Isa Galindo e Analice Uchôa, cada um deles representando, nesta pesquisa, uma das décadas estudadas, respectivamente, 1960, 1970, 1980 e 1990. O objetivo geral deste trabalho é compreender as principais características que constituem esse tipo de manifestação artística, considerando sua sintaxe, morfologia e aspectos antropológicos, artísticos e históricos envolvidos na relação entre a história de vida dos artistas e a construção de sua obra. Buscamos, também, discutir as possibilidades do estudo da arte Naїf como fonte historiográfica, a partir da análise das imagens desses artistas paraibanos, reconhecidos nacional e internacionalmente, e seu contexto histórico. Esta pesquisa está fundamentada no amplo contexto da história cultural, dialogando com a história oral; a história visual e a história do cotidiano, considerando as relações possíveis entre os estudos da antropologia da imagem e da ciência do imaginário. Como resultado deste trabalho, foi possível inferir que a arte Naїf é uma poética visual consolidada no mundo contemporâneo e que não dá sinais de arrefecimento, como demonstram a produção constante dos artistas vivos e o trabalho de novas gerações de artistas que surgem cotidianamente. A arte Naїf paraibana integrou-se à produção visual brasileira moderna e mantém relações permanentes com os signos atuais, influenciando e sendo influenciada pelos constantes diálogos interculturais possibilitados pela arte contemporânea.

Digitization that has enabled instant access to vast numbers of archival, historical images, demands a new paradigm for the use of visual imagery in historical research. This thesis proposes a new form of historiography in the digital medium, an image-based narrative mode for authoring and reading history. I propose a digital model for conveying history through the visual record, as an alternative to the printed book. Unlike the quantitative “big data” approach to digital humanities, this research explores visuality itself. In a practice-led approach, the research addresses both aspects of historiography: (1) a method of historical representation; and (2) original historical work on a selected topic. The testbed for historiographic and narrative experiments which led to the model was my case study on the Boxer Uprising in China, c. 1900. While many written histories of the Boxer Uprising exist, I collected a large portion of its extensive visual record for the first time. Sources from around the world, in a variety of media, were assembled into a digital data set that reveals previously unexplored historical themes. A series of visual narratives built in the case study culminated in a proposed “Visual Narrative Field” model. In this model, meaning emerges in the patterns observed between images within a complex visual field. The model vertically integrates three narrative approaches in order to support alternating cognitive modes used to read texts and perceive images. Linear concentration is blended with the non-linear exploration of interactive forms. The model provides historians with a much-needed tool for authoring narrative through relationships between images in a scalable approach. Due to digitization, visual databases are easily assembled, and images are as easily reproduced as written text. The Visual Narrative Field model takes advantage of the characteristics of the newly-digitized visual record, providing a means of authoring visual narrative that can be comprehended without the use of extensive written text. The model thus creates an unprecedented image-based method for performing and presenting historical research.

Fotografien aus den Kolonien sollten um 1900 auch in Sachsen die Realität in Deutschsüdwestafrika oder Deutschostafrika aufzeigen. Dabei wiederholten sich die Motive: Farmleben, koloniale Architektur, das Leben der Herrnhuter Brüdergemeinde in den Missionsstationen, aber auch Bilder der Chagga oder Motive aus Dörfern der Nyakyusa sollten zuhause Erfolg oder Notwendigkeit von Kolonisierung und Zivilisierung belegen. Diese klaren Deutungssrahmen wurden selten durchbrochen. In Sachsen wurden diese Bilder in illustrierten Zeitschriften und Rahmen von Reklame rekonstruiert und trugen damit zu einer Normalisierung des Kolonialismus bei. Aus kolonialhistorischer und postkolonialer Perspektive können diese stereotypen Darstellungen heute dekonstruiert und hinsichtlich ihrer Authentizität befragt werden.:1. Einleitung 2. Forschungsüberblick 2.1. Der Kolonialrevisionismus der Weimarer Zeit 2.2. Dekolonisierung und kritische Kolonialgeschichte 2.3. Geteilte Geschichte aus postkolonialer Perspektive 3. Postkoloniale Annäherungen an eine sächsische Perspektive 3.1. Über den Rand der Welt: afrikanische Grenzziehungen 3.2. Koloniales Wissenscharchiv und kulturelle Hegemonie 3.3. Zur Hybridität kolonialer Zeichen und Bilder 4. Koloniale Deutungsrahmen und ethisches Moment: eine bildtheoretische Herangehensweise 5. Fotos für das kolonialgeographische Institut der Universität Leipzig 5.1. Repräsentierte Orte: Das Beispiel Tanga 5.2. Voraussetzungen der Kolonialgeographie: Hans Meyers Kilimandscharo-Expedition und die DOAG 5.3. Hybride Fotos I: Hans Meyers Fotografien der Chagga 6. Fotografien der Herrnhuter Mission 6.1. Repräsentative Orte: Das Beispiel der Missionsstation Rungwe und der Dörfer der Nyakyusa 6.2. Die Herrnhuter Mission und der Kolonialismus 6.3. Hybride Fotos II: Fotos von Missionaren, Konvertiten und den Nyakyusa 7. Mediale Sensationen aus den Kolonien in der 'Leipziger Illustirten Zeitung' 8. Exotische Genussversprechen Dresdner Unternehmen 9. Schluss und Ausblick Verwendete Literatur Verwendete Zeitschriften Abkürzungsverzeichnis Abbildungsverzeichnis Selbstständigkeitserklärung

Inspired by 2009 pastiche Inglourious Basterds (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography. My research considers as historical films the counterfactual parodies Churchill: The Hollywood Years (GB 2004) and Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler (DE 2007), as well as Inglourious Basterds and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways. My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right. My research demonstrates the value of cinema's playful engagement with history as a potential contribution to the theory and practise of historical film studies.

Made available in DSpace on 2016-12-08T16:59:51Z (GMT). No. of bitstreams: 1 ERIC.pdf: 17953167 bytes, checksum: b443feb1eabbe477bb0de2975c9a06d5 (MD5) Previous issue date: 2012-02-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / How have the female nudity and sensuality become common visualities in Brazilian Visual Culture? Starting from this question, this research analyzes how women were represented in photo reports in O Cruzeiro magazine during a key moment, the late 1960s. In this period the naked and sensual female body is gaining space in the media along with discussions regarding issues such as divorce and greater sexual freedom. In this research, the team of reporters from O Cruzeiro is presented, ranging from Indalecio Wanderley (the "photographer of misses") to the eclectic Ubiratan Lemos, showing not only how the girls were naked by the photographic eye, but also what was said about them and how it was said. In addition, it is also contemplated the passage of Stanislaw Ponte Preta in the magazine, focusing on one of his creations, the "certinhas" (literally "the right little female ones"), beautiful girls photographed in sexy poses by the photographer Augusto Valentin / Como é que a nudez e sensualidade feminina se tornaram visualidades comuns na Cultura Visual brasileira? Partindo desta problemática, a presente pesquisa analisa a forma como as mulheres foram representadas em fotorreportagens na revista O Cruzeiro em um momento chave, o fim dos anos 1960. Período em que o corpo nu e sensual feminino vai ganhando espaço na mídia e ao mesmo tempo em que se discute a questão do divórcio e da maior liberdade sexual. Na pesquisa, são contemplados a equipe de repórteres de O Cruzeiro e que vai desde Indalécio Wanderley (o "fotógrafo das misses") até o eclético Ubiratan Lemos, mostrando não só como as garotas eram despidas pelo olhar fotográfico, mas também, o que se falava sobre elas e como falavam. Além disso é contemplada a passagem de Stanislaw Ponte Preta na revista, enfocando uma de suas criações, as "Certinhas", lindas garotas fotografadas em poses sensuais pelo fotógrafo Augusto Valentin

L’axe principal de ce travail de thèse est de s’intéresser à ce projet visuel dans l’œuvre d’Albert Kahn et d’ouvrir le champ en s’intéressant aux devenirs des films des Archives de la Planète. Pour cela, la thèse s’appuie sur la totalité des archives administratives du Musée Albert Kahn, sur les archives d’Albert Kahn et sur ses nombreux proches, sur les archives départementales et nationales ou encore à travers des enquêtes menés dans les archives de l’INA, des centres d’art et les archives du film. En s’intéressant, dans un premier temps, à la figure kahnienne à travers la construction des discours contemporains ou posthumes de Kahn, la thèse s’oriente dans un deuxième temps vers une analyse du projet visuel kahnien. En s’appuyant sur des penseurs contemporains de Kahn et sur certains de ses écrits, ce deuxième temps tente de comprendre comment les Archives de la Planète sont rendues possibles et en quoi elles s’inscrivent dans une pensée de l’image à la fois globale et spécifique. Enfin, la troisième partie de ce travail explore, premièrement, la « mise en disponibilités » des films des Archives de la Planète en partant de la mort d’Albert Kahn jusqu’au début des années 2000 en s’appuyant sur l’histoire de l’institution muséale et sur ses satellites – comme la « Cinémathèque de Boulogne ». Le deuxième temps de la troisième partie ouvre la réflexion en se concentrant sur les devenirs des Archives de la Planète à travers des études de cas d’appropriations des films kahniens dans des productions extérieures (Chris Marker, Abel Gance, Nicole Vedrès, Frédéric Rossif etc.) et à la télévision. / The main approach of this PhD is to focus on the visual project within Albert Kahn’s work and to broaden the scope by studying what will become of the films from the Archives of the Planet. To achieve this goal, the thesis draws on the whole administrative archives of the Albert Kahn Museum, on the archives of Albert Kahn and his numerous relatives, on the departmental and national archives and through investigations conducted in the archives of the INA (the National Institute for Audio-visual Media), art centres and the film’s archives. By first looking at the kahnian figure through the construction of Kahn’s contemporary and posthumous speeches, the thesis then takes a turn towards an analysis of the kahnian visual project. As it draws on thinkers contemporary to Kahn and on some of his writings, this second part attempts to grasp how the Archives of the Planet have been made possible and how they are embedded in a thinking, both global and specific, on images. Finally, the third part of this work first delves into the period when the films of the Archives of the Planet were “made available” from Albert Kahn’s death to the early 2000s, by drawing on the history of the museal institution and its satellites – such as the “Cinémathèque de Boulogne.” The third part then opens up the reflection by focusing on the futures of the Archives of the Planet and, by studying cases of appropriation of the kahnian films in external productions (Chris Marker, Abel Gance, Nicole Vedrès, Frédéric Rossif etc.) and on television.