Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-01T11:32:14Z No. of bitstreams: 1 Ana Catarina Santilli.pdf: 5124968 bytes, checksum: 853c02ce314ebf3095abfe8148ec5c20 (MD5) / Made available in DSpace on 2018-08-01T11:32:14Z (GMT). No. of bitstreams: 1 Ana Catarina Santilli.pdf: 5124968 bytes, checksum: 853c02ce314ebf3095abfe8148ec5c20 (MD5) Previous issue date: 2018-06-13 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / According to Jerusa Pires Ferreira’ studies, popular myths and tales always had a great role in the storage and transmission of elements of a culture. However, due to parents' lack of time, there is no longer a tradition of telling stories to children, and the main sources of these stories end up being the audio-visual animations shown on children's channels or on internet video sites. The problem is, as Norval Baitello Júnior and Vicente Romano noticed, more and more people relate to media images and stop being connected with other bodies, which can decrease sensitivity to deal with others. This becomes more alarming when we realize the contents produced for children, who are in a formation phase, in which they most need affection. From a research by Jo Groebel, it was noticed that children turn to media heroes as role models to help them cope with difficult situations. However, many of these heroes resolve their conflicts aggressively, and pass on the message that there are bad people who should be eliminated, which often generates tension and anxiety. From there, this research has an interest to study how a children's audiovisual narrative can treat love in a way that sensitizes the child to the other and to the important gestures in human bonding. In this case, love is understood as a personal bond that unites one human being to another. For this purpose, the animation Sakura Card Captors was chosen as the study corpus. It is a Japanese children's cartoon, appeared in Brazil in the early 2000s, and it was very successful among the public. It is a narrative that explores a great variety of affective bonds between the characters, in many scenes of banal moments, but in which the small gestures used to deal with the others are perceptible. Starting from the works of the ethologists Boris Cyrulnik and Irenäus Eibl-Eibesfeldt about love, and from the studies of the infant psychoanalyst Bruno Bettelheim on narratives for children, this research intends to throw a phenomenological view on the object, making an analysis of the narrative from the links between the characters. The intention is to check the types of love present in the cartoon, according to the classification of affective systems made by Harry Harlow, and to observe how the characters affect each other during the story. It was interesting to note that the animation is able to explore a series of bonds that children form during their lives, emphasizing some daily life details important to the connection with people and the world / Segundo os estudos da Prof.ª Dr.ª Jerusa Pires Ferreira, percebe-se que os mitos e contos populares sempre tiveram um grande papel no armazenamento e na transmissão de elementos de uma cultura. Contudo, com a falta de tempo dos pais, há uma perda da tradição de se contar histórias para os filhos, e as principais fontes de narrativas para as crianças acabam sendo as animações audiovisuais, exibidas em canais infantis ou em sites de vídeo da Internet. O problema é que cada vez mais as pessoas se relacionam com imagens midiáticas e menos se vinculam a outros corpos, o que pode diminuir a sensibilidade no trato com o outro, como alertam Norval Baitello Júnior e Vicente Romano. Isso se torna mais preocupante quando se pensa nos conteúdos produzidos para as crianças, que estão em fase de formação, em que mais precisam de afeto. Pelas pesquisas realizadas por Jo Groebel, foi possível notar que as crianças recorrem aos heróis da mídia como modelos que as auxiliam a lidar com situações difíceis. No entanto, muitos desses heróis resolvem seus conflitos de forma agressiva e passam a mensagem de que existem pessoas más que devem ser eliminadas, o que costuma gerar tensão e ansiedade. A partir daí, a pesquisa buscou estudar como uma narrativa audiovisual infantil, ao invés de estimular a agressão, pode fomentar o amor. Nesse caso, o amor é entendido como vínculo afetivo que une um ser humano ao outro. Ou seja, a proposta foi estudar como uma animação pode tratar o amor de forma que sensibilize a criança ao outro e aos gestos importantes na relação humana. Para tal foi escolhida como corpus de estudo a animação Sakura Card Captors, uma série japonesa infantil, exibida no Brasil no início dos anos 2000 e que teve muito sucesso entre o público. Trata-se de uma narrativa que explora uma grande variedade de vínculos afetivos entre as personagens, em muitas cenas de momentos banais, mas nas quais são perceptíveis os pequenos gestos utilizados no trato com o próximo. Partindo das obras dos etólogos Bóris Cyrulnik e Irenäus Eibl-Eibesfeldt sobre o amor e dos estudos do psicanalista infantil Bruno Bettelheim sobre narrativas para crianças, a pesquisa lançou um olhar fenomenológico sobre o objeto, realizando uma análise da narrativa a partir dos vínculos entre as personagens. A intenção foi verificar os tipos de amor presentes no desenho, de acordo com a classificação de sistemas afetivos feita por Harry Harlow, e observar como as personagens se afetam durante a história. Foi interessante notar que a animação consegue explorar diversos vínculos que a criança forma durante a vida, dando ênfase a detalhes do cotidiano importantes para se conectar às pessoas e ao mundo

Cette thèse porte sur les notions d'archétypes, caricatures et stéréotypes et leurs applications aux personnages noirs dans le film d'animation américain du XXe siècle. C'est en 1907 qu'est diffusé aux Etats-Unis le tout premier film d'animation mettant en scène un personnage noir. Ce dernier, appelé coon, était l'héritier d'une longue tradition de représentations péjoratives qui visaient à maintenir les Noirs dans une position d'altérité et d'infériorité face aux Blancs. Les premiers exemples de ces représentations se retrouvent notamment dans le comic strip américain dont les artistes ont d'abord été dessinateurs, puis « animateurs ». Toutefois, une grande partie des traits physiques et de l'idéologie qui sous-tendent à la création de ces personnages avait déjà été déterminée au XIXe siècle par des disciplines pseudo scientifiques consacrant « l'infériorité » des Noirs sous couvert d'une fausse science, surtout la physiognomonie et la phrénologie, des disciplines émettrices de ce type d'observations et de dessins qui connurent un succès important aux Etats-Unis après avoir été diffusées en Europe. Une autre source d'influence dans l'édification des stéréotypes noirs des films d'animation est celle du spectacle vivant, en particulier les numéros de vaudeville et du Blackface (spectacles populaires de la fin du XIXe siècle aux années 1960 durant lesquels des comédiens blancs grimés en Noirs parodiaient ces derniers). Les personnages noirs du cinéma d'animation reprenaient ces trois influences dont les traces sont largement perceptibles jusqu'aux années 1940. Les représentations péjoratives des Noirs dans l'animation évoluent lentement à partir de 1941 et la conscription des soldats Africains-Américains durant la Seconde Guerre mondiale. Bien qu'une majorité de films d'animation continuent de mettre en scène des personnages caricaturaux, des changements commencent à poindre légèrement, notamment à travers l'exploitation de la musique bebop. L'après-guerre marque une transition définitive entre anciennes caricatures et nouvelles représentations. La montée des revendications des Africains-Américains en faveur d’une égalité de traitement créé une ambivalence entre leurs velléités réformatrices et la persistance d'archaïsmes dépréciatifs dans le cinéma d'animation. Au gré des avancées sociales obtenues par le Mouvement pour les Droits Civiques et du combat mené par les partisans du Black Power, les personnages noirs du cinéma d'animation, puis du dessin animé télévisuel intègrent ces nouvelles dynamiques positives mais également conformistes, parfois déconnectées des réalités des Africains-Américains. Les représentations les plus en adéquation avec leur époque proviennent finalement du milieu du film d'animation underground des années 1970 où se côtoient prostituées et bonimenteurs autour d'un sous-texte social inédit. / This thesis focuses on the notions of archetypes, caricatures and stereotypes as well as their application to black characters in twentieth-century American animated films. In 1907, the very first animated film depicting a black character, “Coon”, was screened. “Coon” came from a long tradition of pejorative depictions that targeted African Americans and defined them down as “others” and “inferiors”. The first regular examples of these representations emerged in American comic strips and were drawn by cartoonists who soon became “animators”. A large part of the ideology and physical representations leading to the creation of these characters was inspired by pseudo-scientific theories that sanctioned black people “inferiority”, graphically and ideologically in the name of pseudo-sciences, including first and foremost physiognomy and phrenology, which first gained influence in Europe before reaching the United States. Vaudeville and Blackface Minstrelsy performances – popular shows that lampooned Black people and were performed by white actors in make-up from the end of the nineteenth century to the 1960s – also played a significant role in the creation of black otherness. The black characters in animated films were a reflection of these three cultural influences and remained unchanged until the 1940s. The negative depictions of African Americans in animated films began to evolve slowly when the United States entered World War II. Slow changes were perceptible through the use of bebop music in such films, although the vast majority of those films remained full of caricatures of Black people. Irrevocable changes rose in the post-war period, from old caricatures to new representations. Increasing demands by African Americans for equal rights created an ambiguity between their integrationist aspirations and the remaining visual traces going back to the period of slavery. The gradual legal gains achieved through their fight in the Civil Rights and Black Power movements led to a new televisual and cinematic imagery, which showed more positive sides of Blackness, despite the persistence of a conformist tone, sometimes out of touch with African American reality. The most faithful reflections of African American experience ultimately came from underground animated movies in the 1970s, in which prostitutes and hustlers added to a new social subtext.

This thesis deals with the depiction of racial and ethnic stereotypes in American animated cartoons particularly from the first half of the twentieth century. It studies the relationship between animation and American culture and examines how animation reflects and shapes American identity in terms of race and how it critiques and promotes American values and attitudes regarding race and ethnicity in particular. Considering the historical, political, legal and cultural background of the contemporary eras of American animation, the thesis analyses the portrayal of racial and ethnic features in animated cartoons from the 1920s to the 1960s. Such stereotypes represent, in my opinion, significant aspects of societal and cultural changes in American society of the examined eras of animation. The beginnings of the entertainment industry affected the booming era of animation by implementing commonly recognised literary stereotypes of the African-Americans into animated cartoons. This thesis strives to study the development of animated features of the racial stereotypes throughout the contemporary eras. It provides a brief systematic overview of the main eras that have significantly highlighted the start of animation as markers of race and ethnicity. Simultaneously, it discusses the problematic...

Made available in DSpace on 2016-03-22T17:26:42Z (GMT). No. of bitstreams: 1 ressuelen.doc: 22528 bytes, checksum: 1412fe27f33beced1816cea08634f2a5 (MD5) Previous issue date: 2012-03-31 / This essay aims at investigating how is the construction and representation of the female protagonist in Disney s animated film "The Princess and the Frog" (2009). In order to accomplish the main objectives, I take as reference theoretical concepts from different areas of knowledge, emphasizing on the genres of speech, intertextuality and polyphony, in accordance with Bakhtin and his Circle, besides focusing on the notions of stereotype and gender as a cultural category linked to the feminist criticism critique. This work is divided into two chapters. In the first one I present the theoretical framework, a brief history of fairy tales and comments about their film adaptations, from the panorama of the movie production of the nine Disney Princesses. In the second chapter, I highlight the methodology employed in the linguistic analysis and imagery from the movie "The Princess and the Frog" on the basis of what I call contextual nucleus which include the following elements: 1) time / space / family constitution, 2) economy / true love / happy ending, 3) scenario / songs / colors and traces 4) fantastic / wonderful / mysticism. I also suggest at this stage a study of Tyana´s physical and behavioral characteristics in comparison with the tale "The Frog Prince by the Grimm Brothers and, three of the "Disney Princesses": Snow White, Cinderella and Aurora. I believe that animation films and adaptations of traditional fairy tales that are directed to children, broadcast standards, values and meanings bring a great influence on the formation and construction of gender identities. Throughout the approach to cinematic language (verbal and imagery), it is possible to unveil the ideology that pervades this midia due to social interchange whereas it is an intertextual discoursive space / Esta dissertação tem por objetivo investigar de que modo ocorre a construção e a representação da personagem feminina no filme de animação A princesa e o sapo (2009), dos Estúdios Disney. Para realizar esse estudo, tomo como referencial teórico conceitos de distintas áreas do conhecimento, salientando-se os de gêneros do discurso, intertextualidade e polifonia, conforme Bakhtin e seu Círculo, além de enfocar as noções de estereótipo e de gênero, como categoria cultural, vinculados à crítica feminista. Este trabalho encontra-se dividido em dois capítulos. No primeiro, apresento o referencial teórico, um breve histórico dos contos de fadas e um comentário acerca de suas adaptações para o cinema, a partir do panorama da produção fílmica das nove princesas dos Estúdios Disney. No segundo capítulo, destaco a metodologia empregada na análise linguística e imagística do filme A princesa e o sapo com base no que denomino de núcleos contextuais , os quais compreendem os elementos seguintes: 1) tempo/espaço/constituição familiar; 2) economia/amor verdadeiro/happy end, 3) cenário fílmico/canções/cores e traços e 4) fantástico/maravilhoso/misticismo. Proponho ainda nessa etapa, um estudo das características físicas e comportamentais de Tiana, em termos comparativos com o conto O rei sapo , dos Irmãos Grimm e três das princesas Disney : Branca de Neve, Cinderela e Aurora. Acredito que os filmes de animação, adaptações de contos de fadas tradicionais, voltados para as crianças, transmitem normas, valores e significados, que influem diretamente na formação e construção de identidades de gênero. Por meio da abordagem à linguagem cinematográfica (verbal e imagística), foi possível desvelar a ideologia presente nesta mídia de intercâmbio social, enquanto espaço intertextual discursivo

Text in English, with abstracts and keywords in English and Sesotho / This doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context. / Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa. / Art and Music / Ph. D. (Art)