Orientador: Nuno Cesar Pereira de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T15:30:22Z (GMT). No. of bitstreams: 1 Molina_VivianaEchavez_M.pdf: 2846323 bytes, checksum: e768cf62d1e08e6c495adc6d99ac8573 (MD5) Previous issue date: 2014 / Resumo: A realização de um filme geralmente demanda o trabalho de um grupo de pessoas para se distribuir as tarefas criativas e de produção. Porém, dentro do cinema documentário tem sido vários os casos de cineastas que empreenderam sozinhos a realização de um filme. O presente trabalho de pesquisa pretende elucidar as consequências que traz consigo assumir um projeto cinematográfico de documentário em solitário, isto é com o diretor como único membro da equipe. Nesse sentido se fará uma análise da obra do cineasta norte americano Ross McElwee tendo em conta que ele desenvolve a maior parte da sua obra como uma equipe de uma pessoa só. Além disso, no presente trabalho se desenvolverá uma experiência prática de realização de um documentário nestas condições. A pesquisa prática será um caminho para observar através da experiência, como a decisão de filmar com uma equipe de uma pessoa só, se vê refletida tanto no processo de realização como na obra finalizada / Abstract: Filmmaking generally demands the work of a crew for the distribution of creative and production functions. Nevertheless, in documentary several directors undertook alone the process of filmmaking. The present research work aims to elucidate what consequences working alone in a documentary film may bring; in other words, what are the consequences for a film when the director is the only member of the film crew. In order to do that, we will make an analysis of American filmmaker Ross McElwee work, as he has built the most of his films as a one-person-film crew. In addition, as part of this research, we will make one documentary film as a one-person-film crew as a way to elucidate through practice, how this production choice is reflected in the filmmaking process and in film resulting out of this process / Mestrado / Multimeios / Mestra em Multimeios

Orientador: Ivani Rodrigues Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Ciências Médicas / Made available in DSpace on 2018-08-27T06:51:37Z (GMT). No. of bitstreams: 1 Melo_JulianaValeria_M.pdf: 1460851 bytes, checksum: f0e10a4fff49ec7409edfdc45188bfd7 (MD5) Previous issue date: 2015 / Resumo: Introdução: O cinema enquanto objeto social pode contribuir para a ampliação do repertório cultural e para a construção de significados sobre o cotidiano das pessoas. Porém as obras fílmicas são, em sua maioria, voltadas ao público ouvinte, o que pode se constituir em uma barreira para o público surdo. Os surdos são um grupo de minoria sociolinguística e cultural usuários, principalmente, da Libras e que a cada dia conquistam mais espaços na sociedade. Esta pesquisa visa descrever as percepções de um grupo de surdos sobre a acessibilidade no cinema e discutir as tecnologias de acessibilidade ¿ legendas descritivas em português, legendas closed caption, e legendas visuais ¿ que buscam incluir o surdo nesse espaço. Metodologia: Trata-se de uma pesquisa de natureza aplicada, com abordagem qualitativa. Este trabalho foi aprovado pelo Comitê de Ética em Pesquisa ¿ CEP e está inscrito no CAAE sob nº 19094213.8.0000.5404. Participaram da pesquisa seis alunos surdos do Ensino Médio de uma escola regular inclusiva em uma cidade do interior de São Paulo, que foram entrevistados e assistiram a dois longas-metragens: A Dona da História (2004) com legenda closed caption; Medianeras (2011) com legenda descritiva em português, e um curta-metragem intitulado Cotidiano (2012) editado com legenda visual ¿ janela de Libras. Resultados e discussão: Observou-se que todos os participantes são usuários do cinema, mas não haviam assistido, até a data da pesquisa, nenhum filme brasileiro. Na entrevista, três alunos consideraram que para melhorar o acesso aos conteúdos fílmicos a legenda visual seria a melhor opção. Foram evidenciados os erros gráficos da legenda closed caption que interferiu na preferência pela mesma. No segundo momento da pesquisa, após a visualização de três artefatos fílmicos com legendas diferentes, a opinião dos surdos variou e todos elencaram a legenda descritiva em português como a solução para os problemas de acessibilidade. Considerações finais: Políticas Públicas tem sido pautadas com foco na inclusão da pessoa surda aos espaços sociais, entendendo a legenda oculta (legenda closed caption) e a projeção do intérprete de Libras (legenda visual) como uma solução para as barreiras de acessibilidade. Esta pesquisa mostra, portanto, que a janela visual deve ser problematizada no contexto do cinema pois esse recurso causa uma à competição visual entre a obra e a tradução. Segundo a opinião de um grupo de seis alunos do Ensino Médio, ter o recurso como está previsto em Lei, não garante o acesso aos conteúdos fílmicos. Sugere-se que estudos sejam desenvolvidos de modo a elucidar, com base na avaliação das pessoas surdas, a eficácia e a eficiência das legendas desenvolvidas para o seu uso no cinema, fortalecendo a participação dos surdos no desenvolvimento de soluções que tenham sentido para esse grupo cultural. Sugere-se também fortalecer as ações de criação de novos artefatos fílmicos por cineastas surdos, o que levaria a uma reconfiguração das técnicas de filmagem, iluminação, enquadramento e movimento de câmera, configurando-se assim, um campo vasto para pesquisas futuras / Abstract: Introduction: Cinema as a social object can contribute to the expansion of cultural repertoire and the construction of meaning in people's daily lives. But the movies are mostly addressed to listening public, which may constitute a barrier to the deaf public access. The deaf are a group of sociolinguistic and cultural minority that use mainly the Libras for their communication in Brazil. Also, this group are achieving every day more spaces in society. This research aims to describe the perceptions of a deaf group on accessibility in movies and discuss some accessibility technologies that can serve to include the deaf person in the cinema¿s context: Descriptive Portuguese Subtitles, Closed Caption Subtitles, and Visual Subtitles-. Methodology: This is an applied research with qualitative approach. This study was approved by the Research Ethics Committee (CEP) and is registered under the CAAE 19094213.8.0000.5404. The participants were six deaf high school students at an inclusive regular school in a municipality of São Paulo, who were interviewed and who watched two movies: The Owner of the Story (2004) with subtitles in closed caption; and Medianeras (2011) with descriptive caption in Portuguese. Also watched a short film titled Everyday (2012) edited with visual legend - Libras window. Results and discussion: We observed that all participants were cinema users, but had not watched, until the date of the survey, any Brazilian movie. At first, in the interview three students considered that, to improve access to the content filmic, visual caption would be the best option. The graphical errors of closed caption were put as reason for their preference for visual caption. In the second phase of the research, after viewing the three filmic devices with different subtitles, all participants changed their mind about the subtitles and all deafs chose the descriptive caption in Portuguese as the better solution for their accessibility. Final Thoughts: Public Policy has been guided focused on inclusion of deaf person to social spaces, understanding the caption (closed caption) and the projection with Libras' interpreter (visual caption) as the better solutions to the accessibility barriers. This study therefore showed that the visual window could be problematic in the context of the movie due a visual competition between the scene and the translation. According to the opinion of the group of six high school students, have recourse as provided by law, does not guarantee access to the filmic content. It is suggested that studies be developed to clarify, based on the assessment of deaf people, the effectiveness and efficiency of the subtitles developed for use in movies, strengthening the participation of deaf people in developing solutions that make sense for this cultural group. It is suggested also to create new filmic devices for deaf filmmakers, which would lead to a reconfiguration of filming techniques, lighting, framing and camera movement. Thus there are a wide field for future researches / Mestrado / Interdisciplinaridade e Reabilitação / Mestra em Saúde, Interdisciplinaridade e Reabilitação

“Eclats et absences. Fictions ethnographiques” développe une enquête autour de la représentation ethnographique, donnant lieu à un ensemble de films où s’entrelacent l’anthropologie et la fiction : les “fictions ethnographiques”.Cette enquête sensible et pratique commence autour de la notion d’exotisme, en analysant la construction de “l’indigène” dans le “Nouveau Monde”. Ces premières recherches donnent lieu à des films mettant en scène de “jungles” in vivo et in vitro, en Europe et en Amérique, qui relient des jardins botaniques et serres tropicales aux archives de la colonisation. Ces films explorent ainsi les moments de “premier contact” entre voyageurs et autochtones. La fiction apparaît comme stratégie narrative pour faire contrechamp à une Histoire racontée majoritairement du point de vue des conquérants.L’enquête établit par la suite un dialogue avec l’anthropologie visuelle. Il s’agit d’opérer un déplacement par rapport à l’ “ethnofiction” articulée par Jean Rouch, tout en incluant les démarches le précédant et celles postérieures à lui, où l’ambigüité est de mise entre l’immersion ethnographique et la fiction. Un ensemble de nouveaux films est développé entre le laboratoire d’ethnographie expérimentale le Sensory Ethnography Lab de l’université de Harvard, la Colombie et le Mexique.Si cette recherche doctorale prends source dans l’analyse des représentations cinématographiques de “l’indigène”, elle évolue au fil du temps vers l’auto-ethnographie et l’autofiction, démarches auto-réflexives pour construire une place d’énonciation singulière. Ainsi, il ne s’agit plus de “parler sur…” une communauté (démarche propre du documentaire télévisuel), mais plutôt parler de “près d’(elle)” (en suivant les mots de la réalisatrice Trinh T. Min-ha) ou bien de “parler avec” elle (faisant écho à la formulation de l’anthropologue Eduardo Viveiros de Castro). La fiction et ses recours narratifs sont indispensables dans les films crées lors de cette enquête : elle construit un espace partagé, des laboratoires politiques pour penser l’émancipation sociale, individuelle et collective. Sol Negro (2016) et La Libertad (2017) constituent les pièces clés de cette dernière série.La création de ces oeuvres a aussi donné naissance à un ensemble d’écrits, d’articules publiés, de performances et à une exposition publique de fin de thèse, intitulée “Disappearing operations — Opérations de la disparition, Opérations disparaissantes, Opérations pour disparaître”. Cette exposition itinérante, matérielle et immatérielle, s’est déroulée entre le 30 novembre et le 15 décembre 2016, au Cinéma Le Méliès, Les Laboratoires d’Aubervilliers, les Beaux-Arts de Paris. / "Shards and absences. Ethnographic fictions” develops a survey around ethnographic representation, giving rise to a series of films in which anthropology and fiction intertwine: the "ethnographic fictions ".This sensitive and practical inquiry begins around the notion of exoticism, analyzing the construction of "the native" in the "New World". This initial research gives birth to films staging in vivo and in vitro jungles in Europe and America, which link botanical gardens and tropical greenhouses with the archives of colonization. These films also explore the moments of "first contact" between travellers and natives. Fiction appears as a narrative strategy to counteract a History mostly told from the point of view of the conquerors.The inquiry then establishes a dialogue with visual anthropology. A displacement is made in regard to Jean Rouch’s "ethnofiction", while including the practices preceding him, and those subsequent to him, with an intrinsic ambiguity between ethnographic immersion and fiction . A series of new films are developed between the laboratory of experimental ethnography Sensory Ethnography Lab of Harvard University, Colombia and Mexico.If this doctoral research takes its source in the analysis of the cinematographic representations of the "native", it evolves over time towards forms of auto-ethnography and autofiction, self-reflexive approaches to construct a place of singular enunciation. Thus, it is no longer a question of "talking about ..." a community (a specific approach of the television documentary), but rather of speaking "close to it" (following the words of the director Trinh T. Min-ha ) or to "speak with" it (echoing the formulation of the anthropologist Eduardo Viveiros de Castro). Fiction and its narrative uses are indispensable for the films created during this inquiry: it allows building a shared space, political laboratories to think of social emancipation, on an individual and collective level. Sol Negro (2016) and La Libertad (2017) are the key pieces of the latter series.The creation of these works also gave birth to a set of writings, published articulations, performances and a public exhibition at the end of this thesis, entitled "Disappearing operations" . This traveling exhibition, material and immaterial, took place between 30 November and 15 December 2016, at the Cinéma Le Méliès, Les Laboratoires d'Aubervilliers and the Beaux-Arts in Paris.

This dissertation revisits a piece of forgotten history of Chinese cinema from 1930s to 1950s when Chinese filmmakers formed a cross-border, Pacific Rim network of cinematic exchanges among various Chinese diasporic communities. Through a transnational and diasporic lens, it explores new relationships between Chinese filmmakers, traditional stage culture, language differences, Chinese ethnicity, and politics. It argues that Chinese cinema, from its early age, was the product of transnational movements of capital, people, and ideas among the Chinese diaspora. The global links among various Chinese communities initiated and sustained the development of Chinese cinema. / 博士(アメリカ研究) / Doctor of Philosophy in American Studies / 同志社大学 / Doshisha University

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This thesis is an examination of the intersection of mainstream American film, and postmodern theories of changes in economic and cultural formations, read through the prism of feminist discourse. The work examines the genre of postmodern film developed by mainstream American studios over the past ten years, asking questions of what a postmodern film text may mean, and how it relates to postmodern theory. The thesis presents the analysis in two parts in each section, the first a discussion of particular aspects of postmodern theory, the second a close textual reading of two films. The claims of postmodernism for a theory and culture that celebrates diversity and rejects hierarchy are countered by various analyses from cultural materialism, feminism and ethnography. The methodology of film analysis is derived from what has become an orthodox feminist film theory developed in the last twenty years in Screen. The first section examines the imaging of technology and mass consumption in the work of Baudr i Ll.a r d , Jameson and Lyotard, and in the genre of the horror film. The second section explores claims of the deconstruction of structures that determine what is regarded as culturally central and what is regarded as culturally marginal. The discussion focusses on two areas; the positioning of the Third lvorld subject in postmodern debate. Secondly, the fetishisation of others - here the black subject as representation, and the marginalisation of marginal groups from cultural production. The third section examines the process of reading and the interpellation of the subject into the (visual or written) text. Questions here address the theoretical model of subjectivity in postmodern texts, and the framework of enunciation in cinema. The last section problematises the figurative language of postmodernism, drawing out the implications of a language and imagery of violence and apocalypse, and suggests a politics of positionality for future discussion.

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