This thesis will shed light on the mechanics of women's enclosure in Spanish cinema and television since the transition to democracy, particularly convent and prison spaces. The study aims to make an original contribution to the field of Spanish cultural studies by highlighting the tension between these spaces as sites of control and sites of community, a tension which both problematizes and enriches the negotiation of the abject, the excessive, and the inassimilable within Spain. Following some contextual scene-setting laid out in the Introduction, the first two chapters explore how the convent was recuperated in the popular imagination after the end of the dictatorship. The first chapter will examine convent space in three post-transition biopics of the sixteenth century Spanish mystic, Teresa de Jesús: Josefina Molina's 1984 TVE television series, Teresa de Jesús, Ray Loriga's 2007 film Teresa, el cuerpo de Cristo, and Jorge Dorado's recent TV movie, Teresa (2015). This analysis will unravel the concrete and historical forces which have shaped representations of the saint's space, particularly how Teresa's mysticism has imbued the convent with authority as a political tool in defining national identity and gender roles. Equally, it will examine how the ineffable experience of the mystic ultimately makes the space unassimilable to any overarching power structure. The impossibility of assimilating convent space will then be the focus of the second chapter which explores the use of different aesthetic registers to render the convent socially intelligible in two mid-eighties convent films, Entre tinieblas (Almodóvar 1983) and Extramuros (Picazo 1985). The next two chapters focus on the construction and management of Otherness in representations of female homosocial enclosure during the mid-nineties. The third chapter looks at two adaptions of the stage play, Canción de cuna - José María Elorrieta's 1961 version and José Luis Garci's 1994 remake - to examine how the radical Otherness of convent enclosure has been mitigated on screen in order to ease anxieties around unmarried, childless women, and to reclaim the space as part of the national landscape. Chapter 4's analysis of Libertarias (Aranda 1995) and Entre rojas (Rodriguez 1996) will contrast this with a study of how the Otherness inherent to homosocial enclosure has also been exploited as a path towards new imaginings of community and intimacy. The final section will examine gender, memory, and martyrdom in women's prison films since 2000: Las trece rosas (Martínez-Lázaro 2007), La voz dormida (Zambrano 2011), and Estrellas que alcanzar (Rueda 2010). This chapter will consider how enclosed environments have been used to frame martyrdom narratives, problematically situating them at the intersection of traditional Catholic iconography and more contemporary depictions of imprisoned and confined women. While the study focuses primarily on cultural production since the transition to democracy, emphasis is placed throughout on tracing the roots of these representations to earlier hagiography, missionary films, and the cine religioso of the 1950s. These connections not only demonstrate the endurance of the convent and prison as significant sites in the Spanish popular imagination but also their versatility as a signifying force and the need for more nuanced readings of them in cultural studies.

Estudo das adaptações de dois textos da obra de Nelson Rodrigues para o cinema e a televisão, analisando as relações entre texto e obra audiovisual, consideradas as particularidades de cada linguagem, para avaliar como se dá o diálogo entre texto de origem e adaptação e como essas obras se encaixam nas estéticas cinematográficas e televisivas. Partindo dessas análises, uma vez que a matriz melodramática é um ponto de intersecção entre o cinema e a TV, a pesquisa identifica o papel e as mediações do melodrama nessas adaptações, analisando o tipo de moldura de interpretação e representação da obra de Nelson Rodrigues que o melodrama representa nesses dois dispositivos. / A study of the adaptations of two of Nelson Rodrigues\'s writings to cinema and television, analyzing the relationship between text and film work, being considered the particularities of each language, to evaluate how the dialog between original text and adaptation is done and where these adaptations stand in the cinematographic and television aesthetics. From these analysis, since the melodramatic aesthetic is an intersection point between text, cinema and TV, the research identifies the part and mediations of the melodrama in these adaptations and how the melodramatic aesthetic constitutes a key of interpretation and representation of Rodrigues\'s work in both medias.

Estudo das adaptações de dois textos da obra de Nelson Rodrigues para o cinema e a televisão, analisando as relações entre texto e obra audiovisual, consideradas as particularidades de cada linguagem, para avaliar como se dá o diálogo entre texto de origem e adaptação e como essas obras se encaixam nas estéticas cinematográficas e televisivas. Partindo dessas análises, uma vez que a matriz melodramática é um ponto de intersecção entre o cinema e a TV, a pesquisa identifica o papel e as mediações do melodrama nessas adaptações, analisando o tipo de moldura de interpretação e representação da obra de Nelson Rodrigues que o melodrama representa nesses dois dispositivos. / A study of the adaptations of two of Nelson Rodrigues\'s writings to cinema and television, analyzing the relationship between text and film work, being considered the particularities of each language, to evaluate how the dialog between original text and adaptation is done and where these adaptations stand in the cinematographic and television aesthetics. From these analysis, since the melodramatic aesthetic is an intersection point between text, cinema and TV, the research identifies the part and mediations of the melodrama in these adaptations and how the melodramatic aesthetic constitutes a key of interpretation and representation of Rodrigues\'s work in both medias.

Submitted by Priscilla Araujo (priscilla@ibict.br) on 2017-10-09T19:00:27Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese doutorado alex.pdf: 2958664 bytes, checksum: 37b9701ef9ef903d88001588b2c917d9 (MD5) / Made available in DSpace on 2017-10-09T19:00:28Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese doutorado alex.pdf: 2958664 bytes, checksum: 37b9701ef9ef903d88001588b2c917d9 (MD5) Previous issue date: 2003-08-28 / Este trabalho busca analisar as políticas públicas para o audiovisual no Brasil a partir da década de 1990 e, mais especificamente, as políticas de fomento à produção de longas metragens. Para tanto, foram utilizados referenciais comumente presentes nos estudos relativos à Ciência da Informação, tais como as políticas de informação e o próprio conceito de informação, e à Ciência Econômica – particularidades dos bens informacionais quando transacionados no mercado. Tais referenciais conferem sustentação à consideração da informação (e dos bens de informação) como elemento central da dinâmica econômica mundial. As políticas públicas para o audiovisual no Brasil são analisadas a partir de dois eixos: políticas de fomento por um lado e políticas de regulação de mercado, por outro lado – eixos a partir das quais é possível a comparação com políticas públicas de outros países. A análise tem como base a construção teórica de uma cadeia de valor do setor audiovisual (denominada cadeia ramificada) desenvolvida como ferramenta analítica capaz de revelar os gargalos à circulação do produto e ao fluxo financeiro no setor, assim como as estratégias de expansão e o exercício de poder econômico das empresas que aí atuam. Como resultado do trabalho, tem-se: (i) a constatação de que a política pública brasileira voltada ao setor audiovisual a partir do início da década de 1990 não integrou as reflexões, comuns nos países desenvolvidos, sobre a potencialidade socioeconômica associada à maior relevância da informação e dos produtos de informação na dinâmica da economia e das sociedades; (ii) que a natureza e o escopo das políticas de fomento implementadas está relacionado à constatação da incapacidade do Estado brasileiro em promover políticas de regulação de mercado que viessem a ampliar o espaço para o produto audiovisual nacional, e; (iii) que o “viés cinematográfico” da política pública, tendo o fomento público à produção de longas metragens como base, foi se consolidando diante dos limites políticos do Estado em abarcar outros segmentos do mercado audiovisual, especialmente os televisivos, no seio das ações voltada para o setor. / This work covers the analysis of the public policies for the audiovisual sector in Brazil since the 1990s and, more specifically, the production of feature film policies. To that purpose, several references related to Information Science were used, such as information policies and the concept of information itself, as well as references from Economic Science - particularities of informational goods when transacted in the market, for example. These references take the consideration of information (and information goods) as the central element of world economic dynamics. The Brazilian audiovisual public policies are analysed from two axes: promotion policies based on public subsidies and regulation policies – axes when used make possible to compare policies between countries. The analysis is based on the theoretical construction of an audiovisual sector value chain, denominated the branched audiovisual chain, developed as an analytical tool that intents to show the product circulation bottlenecks and financial flow in the sector, as well as the expansion strategies and the exercise of economic power of the companies acting in this field. As a result of the work, we have: (i) the observation that the Brazilian public policy focused on the audiovisual sector since the beginning of the 1990s did not integrate the reflections, common in developed countries, about the socioeconomic potential associated to the greater relevance of the information and information products in the dynamics of the economy and societies; (ii) that the understanding of the development policies implemented is related to the inability of the Brazilian State to promote market regulation policies that would expand the space for the national product, and; (iii) that the "cinematographic bias" of public policy, with public subsidies for the production of feature films as a base, has been consolidated in the face of the political limitations of the State in covering other segments of the audiovisual market, especially television, in the heart of the actions directed towards the sector.