El cine en Latinoamérica enfrenta problemas con respecto al financiamiento y a la difusión de proyectos desde el sistema tradicional. Sin embargo, hoy, la influencia del internet, la pantalla global, la web social y la participación colectiva han cambiado los hábitos de consumo dando herramientas para poder terminar el proceso de una película. La audiencia no solo consume, también produce. Los nuevos realizadores han aprovechado este cambio para replantear el modelo de negocio y la cadena de producción a la hora de contar historias. Nacen nuevos conceptos que ayudan a esta modificación de la cadena productiva, como el crowdfunding, que modifica la forma de financiar proyectos, experiencias como la wikipeli demuestran que se puede generar una nueva forma de producción y realización, eliminando intermediario en la etapa de distribución, y por último, la transmedia y el storydoing que no solo modifican la narración sino que generan la creación de una marca que reviste al producto. Se tratará demostrar el rol de plataformas digitales vinculadas a la web social como un sistema alternativo en la cadena de producción audiovisual mediante una metodología de análisis descriptivo-cualitativo de casos de éxito, entrevistas y plataformas. / The film industry in Latin America has to deal with financial and distribution problems for projects in the traditional film system. Nevertheless, nowadays the influence of the internet, the global screen, social media, and group participation have changed consumer behavior, giving rise to new tools for the film production and viewing cycle. Audiences do not only consume, but also produce. New filmmakers have taken advantage of this change to rethink the business model, and the production chain for telling their stories. New concepts that help to transform the production chain include crowdfunding, which modifies the financing of projects, products such as the “wikipeli”, which use new methods of production and creation, without distribution intermediaries, and transmedia and storytelling, which modify narration and create a product brand. We seek to show the role of social media tools as alternative audiovisual production mechanisms through a descriptive qualitative analysis of examples of success, interviews and platforms.

Orientador: Francirosy Campos Barbosa Ferreira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T05:09:01Z (GMT). No. of bitstreams: 1 Pessuto_Kelen_M.pdf: 3175741 bytes, checksum: 12122eeb3b192b833dfc0faebb26d576 (MD5) Previous issue date: 2011 / Resumo: Esta dissertação analisa as performances dos "não" atores no cinema de arte iraniano, a partir das obras Close-up (Nema-ye Nazdik, 1990, Abbas Kiarostami), Salve o cinema (Salam cinema, 1995, Mohsen Makhmalbaf), Tartarugas podem voar (Lakposhtha parvaz mikonand, 2004, Bahman Ghobadi) e O espelho (Ayneh, 1997, Jafar Panahi). Com base na antropologia da performance, busca-se responder às seguintes perguntas: Quem são os "não" atores? Por que são usados esse tipo de ator em vez de atores profissionais? Quais os métodos empregados em sua direção? Qual a relação que se estabelece entre o ator e o personagem? Para tanto, utiliza-se além da bibliografia pertinente a essa disciplina, ao teatro e ao cinema, o método comparativo, com filmes do mesmo diretor, assim como de outras cinematografias. Conclui-se que não há necessidade do ator ter uma técnica préestabelecida, sendo que a direção proposta por esses cineastas requer o mínimo de atuação. O ator-performer vivencia as situações que lhes são impostas e, a partir disso, cria personagens, algumas vezes baseados em sua própria experiência de vida, como em uma grande brincadeira de faz de conta / Abstract: This thesis analyzes the performance of the "non" actors in the Iranian art cinema, in movies Close-up (Nema-ye Nazdik, 1990, Abbas Kiarostami), Salam cinema (1995, Mohsen Makhmalbaf), Turtles can fly (Lakposhtha parvaz mikonand, 2004, Bahman Ghobadi) and The Mirror (Ayneh, 1997, Jafar Panahi). Based on the anthropology of performance, we seek to answer the following questions: Who are these "non" actors? Why they used that kind of actor instead of professional actors? What are the methods employed in its direction? and What is the relationship established between the actor and character? For this, we use the comparative method, with films from these directors, as well movies by other cinematographies. The conclusion reached is that there is no need for the actor to have a pre-established technique, because the direction proposed by these filmmakers requires minimal action. The actor-performer experience situations that are imposed for them and they create characters, sometimes based on their own experience of life, as in a grand game of make-believe / Mestrado / Artes Cenicas / Mestre em Artes

A presente dissertação busca radiografar a realização de \"São Paulo Sociedade Anônima\" (que teve o título provisório \"Agonia\"), escrito e dirigido por Luiz Sérgio Person. O filme foi produzido em 1964 pela Sòcine Cinematográfica Ltda., fundada por Renato Magalhães Gouvea, e lançado em 1965. A pesquisa concentrou-se no arquivo do produtor, que tem um material quase totalmente original, que vai da lista dos acionistas até as mais de 30 críticas, inclusive da imprensa italiana, além de entrevistas e depoimentos inéditos de Person. O material complementar foi obtido na biblioteca da Cinemateca Brasileira. A partir das leituras, foram realizadas entrevistas com o próprio Renato, com o montador Glauco Mirko Laurelli e com a atriz Ana Esmeralda. \"São Paulo Sociedade Anônima\", além de suas qualidades artísticas, teve um modelo diferenciado e profissional de produção e, principalmente, de marketing. Para completar, fiz a proposta estética de remontar o filme, colocando a narrativa original, de flashbacks, em ordem cronológica sequencial e acrescentando-se trecho da poesia \"Agonia\", de Vinicius de Moraes, que serviu de inspiração para Person. / This dissertation tries to radiograph the realization of \"São Paulo Sociedade Anônima\" (originally titled Agonia), a motion picture wrote and directed by Luiz Sérgio Person. Sòcine Cinematográfica Ltda. (founded by Renato Magalhães Gouvea) produced the film in 1964 by and released it in 1965. The research focused on the producer files, an almost completely original material, from the shareholders list to more than 30 newspapers including Italian newspapers critics reviews, besides unpublished Persons interviews and declarations. The Library of Cinemateca Brasileira provided complimentary material. From those readings, interviews were made with Renato Magalhães Gouvea, the film editor Glauco Mirko Laurelli and actress Ana Esmeralda. Besides its artistic features, \"São Paulo Sociedade Anônima\" showed a differentiated and professional production and, mainly, a marketing model. Finally, the author of this dissertation presents the aesthetic proposal of re-editing the film, arranging in sequential chronological order the original narrative, compounded of flashbacks, and including a fragment of Vinicius de Moraes poem \"Agonia\", which inspired Person.

台灣過去以製造業聞名全球，然而成本的降低終有其限度；隨著政府兩兆雙星方案的提出，將數位內容產業列為重點培育產業之一，也開啟了台灣往知識經濟前進的腳步。然而高風險的特性，也使得多數數位內容業者，在融資方面遭遇相當的困難。特別是過去以有形資產為擔保品的銀行融資方式，更使得數位內容業者較難展現自己的價值。本論文以此情境為出發點，並參考國外數位容產業個案，引發對於相關融資方式的討論。 本研究以數位內容產業可能之融資手段為出發點，參照國外個案，以美國著作權證券化與日本製作委員會之融資方式為討論標的。美國著作權證券化最成功的案例，非大衛包伊個案莫屬。個案資料之豐富於廣受討論之程度亦為此系列之最；而日本的動畫產業亦向來我亞洲之冠，近來更廣受歐美市場的青睞。本論文以此二個案為標的，分析個案所處之情境，以產品所處之不同發展階段與資本市場成熟度，深入了解其融資方式之選擇策略。並兼論採取此種融資方式，所可能遭遇之困難與挑戰。最後並探討台灣之產業經濟環境，提出可參考改進之建議與作法，作為台灣改進數位內容產業融資問題可能的方向。 關鍵字：數位內容、融資、智財證券化、管理委員會 / Taiwan has been famous for its manufacturing ability. However, there’s a limitation with cost down strategy. Taiwan government has brought out the “Two Trillions & Twin Stars Industries Development Plan” in order to promote the development of certain industries in Taiwan, and Digital Content Industry is listed among one of them. The development of Digital Content Industry has presented the progress toward knowledge based economics of Taiwan. However, the high risk characters have resulted in the difficulty of finance for digital content business. Especially collateral requirement is making digital content players even harder to show their value. This research is based on this situation to discuss related financing methods and refers to some cases. This research is based on the possible financing methods for digital content industry, and using copyright securitization in America and Cinema Production Committee in Japan. The most famous copyright securitization case in America is David Bowie securitization, and the related comment and information is also richest. The Japan animation industry is always the best of Asia, and is popular in Europe and America recently. This research is focus on the two topics to analyze cases. The research uses the different product development stage along with maturity degree of capital market to analyze the selection of financing methods. Also, the possible difficulties and challenges are discussed. The research also talks about the digital content industry and economic environment in Taiwan, and make possible suggestions to improve the progress of digital content development in Taiwan.

A presente dissertação busca radiografar a realização de \"São Paulo Sociedade Anônima\" (que teve o título provisório \"Agonia\"), escrito e dirigido por Luiz Sérgio Person. O filme foi produzido em 1964 pela Sòcine Cinematográfica Ltda., fundada por Renato Magalhães Gouvea, e lançado em 1965. A pesquisa concentrou-se no arquivo do produtor, que tem um material quase totalmente original, que vai da lista dos acionistas até as mais de 30 críticas, inclusive da imprensa italiana, além de entrevistas e depoimentos inéditos de Person. O material complementar foi obtido na biblioteca da Cinemateca Brasileira. A partir das leituras, foram realizadas entrevistas com o próprio Renato, com o montador Glauco Mirko Laurelli e com a atriz Ana Esmeralda. \"São Paulo Sociedade Anônima\", além de suas qualidades artísticas, teve um modelo diferenciado e profissional de produção e, principalmente, de marketing. Para completar, fiz a proposta estética de remontar o filme, colocando a narrativa original, de flashbacks, em ordem cronológica sequencial e acrescentando-se trecho da poesia \"Agonia\", de Vinicius de Moraes, que serviu de inspiração para Person. / This dissertation tries to radiograph the realization of \"São Paulo Sociedade Anônima\" (originally titled Agonia), a motion picture wrote and directed by Luiz Sérgio Person. Sòcine Cinematográfica Ltda. (founded by Renato Magalhães Gouvea) produced the film in 1964 by and released it in 1965. The research focused on the producer files, an almost completely original material, from the shareholders list to more than 30 newspapers including Italian newspapers critics reviews, besides unpublished Persons interviews and declarations. The Library of Cinemateca Brasileira provided complimentary material. From those readings, interviews were made with Renato Magalhães Gouvea, the film editor Glauco Mirko Laurelli and actress Ana Esmeralda. Besides its artistic features, \"São Paulo Sociedade Anônima\" showed a differentiated and professional production and, mainly, a marketing model. Finally, the author of this dissertation presents the aesthetic proposal of re-editing the film, arranging in sequential chronological order the original narrative, compounded of flashbacks, and including a fragment of Vinicius de Moraes poem \"Agonia\", which inspired Person.

This study utilises a variety of research methods in order to investigate aspects often overlooked within Scottish film criticism, and indeed film studies more generally, namely: pre-production, production experiences, marketing and distribution, and reception. To date, Scottish film criticism has exhibited a preoccupation with questions of nation, national identity and national cinema, and overwhelmingly scholars have privileged almost exclusive analysis of the film text. Spurred by Jonathan Murray’s (2007, 2011, 2012) questioning of the continued relevance of the national framework, this thesis goes beyond the frame of the film text in order to consider new ways in which a national framework might be of relevance when analysing Scotland’s cinematic output. Concurrently, the chosen case study is also used as a means of critiquing existing literature on collective identity and national cinema. As the title of this thesis suggests, analysis centres on the Dogma-inspired Advance Party initiative and its resulting films, Red Road (Arnold, 2006) and Donkeys (McKinnon, 2010). Devised by Glasgow-based Sigma Films and Denmark’s Zentropa, the cross border collaborative dimension of the Advance Party framework initially appears to challenge the appropriateness of the national framework. As this thesis demonstrates however, such a simplistic conclusion is reductive and overlooks the complexities of the film industry. Throughout this thesis, questions as to the intended and eventual function of the Advance Party framework arise, and these are revisited by means of the thesis Conclusion.