Made available in DSpace on 2016-08-10T11:22:03Z (GMT). No. of bitstreams: 1 VINICIUS FERREIRA BARBOSA.pdf: 2016371 bytes, checksum: fc359b0d35aa00926fad19d226ef30d1 (MD5) Previous issue date: 2016-03-21 / This study aims to think our contemporaneity with Nietzsche, focusing on some of the films US directors Woody Allen and Martin Scorsese. The study here developed allowed us to establish, creatively, a possibility of understanding the history of Western culture. Add philosophy and cinema was a way of thinking about the current conditions of human subjectivity islanded this condition called "individual," their ways of relating to the real currency of their experiences. The film is as tool in this search, as philosophy is. The film witnesses the relationship "individual-modernity." Nietzsche is a thinker who gave us the tools to think about the individual s relationship with nihilism and the tragic in some of the characters of Allen and Scorsese films. / Este trabalho tem por finalidade pensar com Nietzsche a nossa contemporaneidade, enfocando algumas das obras cinematográficas dos diretores estadunidenses Woody Allen e Martin Scorsese. O estudo aqui desenvolvido permitiu estabelecer, de forma criativa, uma possibilidade de entendimento da trajetória da cultura ocidental. Juntar filosofia e cinema foi uma forma de pensar as condições atuais da subjetividade humana ilhada nesta condição chamada indivíduo , as suas formas de se relacionar com a atualidade real de suas vivências. O cinema é tão ferramenta, nessa pesquisa, quanto a filosofia o é. O cinema testemunha a relação indivíduomodernidade . Nietzsche é pensador que nos ofereceu as ferramentas para pensar sobre a relação do indivíduo com o niilismo e o trágico, em alguns dos personagens dos filmes de Allen e Scorsese.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente tese tem como intuito investigar as relações entre as narrativas de Machado de Assis e de Woody Allen, autores de épocas e culturas bastante distintas. No entanto, através da análise do papel da ironia na obra de ambos tornou-se possível aproximar Memórias póstumas de Brás Cubas, romance de 1881 de Machado, e Stardust Memories, filme lançado em 1980 pelo diretor Woody Allen. A investigação divide-se em três etapas. No primeiro capítulo, analisa-se a aproximação entre os dois autores através de uma mesma visão sobre a ficção presente tanto na obra de Machado quanto na de Allen. Esta visão encontra-se fundamentada através de uma tradição literária burlesca que rompe com o primado realista na narrativa ficcional. No segundo capítulo, procura-se demonstrar como a perspectiva não realista escapa a uma regra moralizante na ficção, para valorizar uma postura ética, isto é, para se definir o ethos da narrativa. A ironia, assim, será a morada da ficção de ambos os autores, que problematizam o mundo incluindo nele a própria narrativa. E no terceiro e último capítulo, analisa-se a relação ficcional nas duas obras com a memória. A memória, elemento constituinte da identidade humana, revela-se uma linguagem própria e opressora aos narradores memorialistas, impondo-lhes a inexorabilidade do tempo. Dessa forma, suas ficções seriam uma luta incessante do homem contra o seu caminhar para a morte

Perhaps more than any other major American city in the 1970s, New York represented the decline of an urban existence. Job loss from factors related to deindustrialization and intense crime occupied local and national news, reflecting the increasing anxiety of America's future. New York City was positioned at the center of this frightening chaos. Films made during this period, known by film scholars and journalists as the "New Hollywood" captured the collective temperament of the people and the physical space they inhabit during its disintegration. The depiction of New York during the 1970s has been widely discussed in the writing on two key New York City directors, Woody Allen and Martin Scorsese. Scholars like Ellis Cashmore and Charles Silet have argued about Allen and Scorsese's depiction of New York respectively, however, they have not adequately offered a fully comprehensive study of their works collected together in order to uncover New York's decline. Specifically, this Thesis, examines the films made by Allen and Scorsese during the 1970s, specifically, Annie Hall, Manhattan, Mean Streets, and Taxi Driver. I explore the disparities and philosophies that both auteurs express in their depiction of the same urban space. Although the films are not documentaries, they do however; offer a faithful portrayal of a city in transition. By closely examining their works together, I offer a new perspective of New York's culturally diverse population transforming from a working class industrial landscape to one influenced by the principles of Neoliberalism.

Se donnant pour objet l'analyse des relations s'établissant entre les films de Woody Allen (de "Prends l'oseille et tire-toi", 1969, à "la vie et tout le reste", 2003) et leurs spectateurs, l'étude part d'une définition de l'image publique du cinéaste pour se concentrer ensuite sur le personnage filmique "Woody Allen" puis sur la manière dont les films eux-mêmes représentent la figure de l'auteur et mettent en scène la relation avec leur(s) spectateurs(s) comme une rencontre paradoxale.

Belly Laughs: Body Humor in Contemporary American Literature and Film Scholars are more than happy to laugh at but seem somewhat reluctant to discuss body humor, which is perhaps the most neglected form of comedy in recent criticism. In this dissertation, I examine the ways in which contemporary American writers and filmmakers use body humor in their works, not only in moments of so-called "comic relief" but also as a valid way of exploring many of the same issues that postmodern artists typically interrogate in their more somber moments. The writers discussed in this project-Philip Roth, Thomas Pynchon, Charles Johnson, and Woody Allen-were chosen for the divergent ways in which they present the body's comic predicament in psychological, metaphysical, and historical situations. The introduction explains the diverse traditions that these artists draw upon and considers how various theoretical approaches can affect our understanding of body humor. The first chapter examines Jewish-American novelist Philip Roth's use of absurd and grotesque body imagery as manifestations of his characters' moral dilemmas. The second chapter looks at how slapstick comedy informs a worldview dominated by paranioa and chaos in Thomas Pynchon's novels. Chapter Three looks at Woody Allen's early films, in which he parodies and revises the slapstick cinematic tradition of artists like Charlie Chaplin and The Marx Brothers. Chapter Four considers African-American writer and cartoonist Charles Johnson's depiction of the ways in which the body's desires and pitfalls complicate the quest for spiritual enlightenment.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente tese tem como intuito investigar as relações entre as narrativas de Machado de Assis e de Woody Allen, autores de épocas e culturas bastante distintas. No entanto, através da análise do papel da ironia na obra de ambos tornou-se possível aproximar Memórias póstumas de Brás Cubas, romance de 1881 de Machado, e Stardust Memories, filme lançado em 1980 pelo diretor Woody Allen. A investigação divide-se em três etapas. No primeiro capítulo, analisa-se a aproximação entre os dois autores através de uma mesma visão sobre a ficção presente tanto na obra de Machado quanto na de Allen. Esta visão encontra-se fundamentada através de uma tradição literária burlesca que rompe com o primado realista na narrativa ficcional. No segundo capítulo, procura-se demonstrar como a perspectiva não realista escapa a uma regra moralizante na ficção, para valorizar uma postura ética, isto é, para se definir o ethos da narrativa. A ironia, assim, será a morada da ficção de ambos os autores, que problematizam o mundo incluindo nele a própria narrativa. E no terceiro e último capítulo, analisa-se a relação ficcional nas duas obras com a memória. A memória, elemento constituinte da identidade humana, revela-se uma linguagem própria e opressora aos narradores memorialistas, impondo-lhes a inexorabilidade do tempo. Dessa forma, suas ficções seriam uma luta incessante do homem contra o seu caminhar para a morte

This thesis examines Allen's development using Annie Hall (1977), Manhattan (1979), and Hannah and Her Sisters (1986) as landmarks. Three criteria (chapters) structure the analysis: comedy, narrative, and romance.

No description available.

<p>Filmmusic is often composed specially for a film. When analyzing film-music it seems very common to study the function of the music in a narrative context in order to see how it cooperates or relates to this narration. In the present thesis I am investigating the interaction between film and music as two ingredients on an equal level. In short: what happens when a filmmaker chooses music that has already been composed for another occasion, even in another time and a different cultural context? My aim is twofold: first to examine current film analytic strategies, secondly to find new ways of comprehend pre-composed music in relation to its new setting in a film. My interest, thus, is to seek meaning of music in film rather than function.</p><p>The study calls for an inter-disciplinary approach using theories and discussions from a wide range of subjects: psychology, music therapy, anthropology, musicology in general and semantics.</p><p>I am examining two films that are similar in their respect to use music that has been composed and used elsewhere. However, in “2001-a Space Odyssey” Stanley Kubrick uses music from the European art music tradition whereas Woody Allen in “Manhattan” uses music from the popular American music repertoire of the 20s and 30s (The American Songbook). The music, by various composers and in various idioms, in Kubrick´s films, works on a fairly abstract level in a sort of counterpoint to the mythological and visionary contents of the film plot. The meaning of the music on the one hand, and film music on the other operates on a deeper level as a result of this confrontation.</p><p>In Woody Allen´s film the pieces of music represent a culturally and tecknically much more homogenous group. The implicit texts of the songs ( they are never sung) can be comprehended as a commentary on a deeper level by those familiar with this repertoire. Allen´s choice of subject and enacted dramaturgy for his film is very different from Kubrick´s. The chosen music contributes in an independent way to a reciprocal understanding of film and music as two separate but still independent art entities.</p>

Filmmusic is often composed specially for a film. When analyzing film-music it seems very common to study the function of the music in a narrative context in order to see how it cooperates or relates to this narration. In the present thesis I am investigating the interaction between film and music as two ingredients on an equal level. In short: what happens when a filmmaker chooses music that has already been composed for another occasion, even in another time and a different cultural context? My aim is twofold: first to examine current film analytic strategies, secondly to find new ways of comprehend pre-composed music in relation to its new setting in a film. My interest, thus, is to seek meaning of music in film rather than function. The study calls for an inter-disciplinary approach using theories and discussions from a wide range of subjects: psychology, music therapy, anthropology, musicology in general and semantics. I am examining two films that are similar in their respect to use music that has been composed and used elsewhere. However, in “2001-a Space Odyssey” Stanley Kubrick uses music from the European art music tradition whereas Woody Allen in “Manhattan” uses music from the popular American music repertoire of the 20s and 30s (The American Songbook). The music, by various composers and in various idioms, in Kubrick´s films, works on a fairly abstract level in a sort of counterpoint to the mythological and visionary contents of the film plot. The meaning of the music on the one hand, and film music on the other operates on a deeper level as a result of this confrontation. In Woody Allen´s film the pieces of music represent a culturally and tecknically much more homogenous group. The implicit texts of the songs ( they are never sung) can be comprehended as a commentary on a deeper level by those familiar with this repertoire. Allen´s choice of subject and enacted dramaturgy for his film is very different from Kubrick´s. The chosen music contributes in an independent way to a reciprocal understanding of film and music as two separate but still independent art entities.