Made available in DSpace on 2015-03-05T18:25:03Z (GMT). No. of bitstreams: 0 Previous issue date: 28 / Nenhuma / A pesquisa que toma forma nas páginas desta dissertação de mestrado problematiza o personagem nos filmes de documentário, tomando como objeto empírico o curta-metragem Kilmayr, de Marcio Schenatto. A dissertação, inserida na linha de pesquisa de Mídias e Processos Audiovisuais do Programa de Pós-graduação em Comunicação da UNISINOS e vinculada ao diretório de pesquisa CNPq Audiovisualidades, tem como objetivo geral verificar e compreender os modos de atualização do personagem no curta-metragem Kilmayr. Para tanto, os processos metodológicos adotados são relacionados às concepções de cartografia e rizoma, buscando sustentação em elaborações filosóficas contemporâneas, a fim de conceber o objeto de pesquisa a partir de conceitos da ordem das multiplicidades / This thesis is a research about character in documentary, considering it’s performance in the short-film Kilmayr. This work belongs to Audiovisual research line of Post Graduation in Communication by UNISINOS, this project has as the main objective verifying and comprehending the forms of actualization of the character in the short-film Kilmayr. The methodological processes of this research are taken in contemporary philosophy related to rizoma and cartographic theories operating the concept of multiplicity

Made available in DSpace on 2014-12-17T14:20:08Z (GMT). No. of bitstreams: 1 AnaTPMC_DISSERT.pdf: 1347609 bytes, checksum: 09687f612d26a6b88d4b61ce1a877abf (MD5) Previous issue date: 2012-10-04 / This dissertation presents a reflection upon the notion of event, inspired by the contributions of Edgar Morin to the thinking of the present. The research analysis this notion particularly from the experience of the documentary titled Sangue do Barro, which was the winner of the 4th edition of DOCTV, in the federal state of Rio Grande do Norte in 2008. The study focuses on how facts from daily life can be approached by the documentary making process, and how in this process the questioning of facts leads to the questioning of social realities. In this perspective, through the illustrative case of Sangue do Barro, the research develops the hypothesis of how in the documentary process, which aims at revealing a particular history, is the revealing of the particular able to reflect the universal. The dissertation thus assumes this situation as precisely the configuration of the sociology of present, proposed by Edgar Morin. Furthermore, along with the theoretical premises of the sociology of the present, the research performs a brief historical analysis of documentary practices, Brazilian audiovisual public policies, and it also discusses the technical contributions of several contemporary film makers and contemporary thinkers, such as Jean Rouch, Bill Nichols, Ismail Xavier, Consuelo Lins, Gilles Lipovetsky, Jean Serroy, Michel Foucault, Alfredo Pena-Vega, Nicole Lapierre, etc / A presente disserta??o de mestrado consiste na reflex?o sobre a no??o de acontecimento, ? luz do pensamento de Edgar Morin, particularmente refletida na experi?ncia do document?rio Sangue do Barro, vencedor da quarta edi??o do DOCTV, no Rio Grande do Norte, em 2008. Neste sentido, a pesquisa extrai do fazer documental o foco nas quest?es cotidianas, de onde se parte dos fatos para se questionar as realidades sociais. Assim, no exemplo de Sangue do Barro, a disserta??o analisa a hip?tese de como o procedimento documental, com foco em revelar uma hist?ria particular, pode de fato fazer com esse particular reflita o universal, o que finda por configurar-se em uma sociologia do presente, conforme proposta por Edgar Morin. A presente pesquisa ? complementada ainda por uma breve an?lise contextual do cinema verdade, das pol?ticas p?blicas de audiovisual e difus?o do document?rio no Brasil. Al?m dos pressupostos te?ricos da sociologia do presente de Edgar Morin, s?o abordadas ainda as contribui??es te?ricas para a compreens?o do g?nero document?rio de Jean Rouch, Bill Nichols, Ismail Xavier, Consuelo Lins, Gilles Lipovetsky, Jean Serroy, Michel Foucault, Alfredo Pena-Vega, Nicole Lapierre, entre outros

Esta dissertação enfoca os aspectos práticos da produção audiovisual, destacadamente em vídeo, no ambiente acadêmico da Universidade de São Paulo. A universidade como ambiente onde se desenvolve a Ciência, através da pesquisa, e se reproduz o pensamento científico, através do ensino, é também um ambiente propício às atividades do audiovisual. O avanço científico dos séculos XIX e XX permitiram a criação de tecnologias da imagem e do som, desde a fotografia aos WEB sites, que tão profundamente marcam o mundo contemporâneo. Por sua vez, estas mesmas técnicas muito contribuíram para os desdobramentos das pesquisas científicas, com a telescopia, a microscopia e demais sistemas de análise do espectro. A Universidade de São Paulo, em mais de 60 anos de história, abrigou diversas iniciativas de produção de filmes e vídeos vinculados a atividades de ensino, pesquisa e extensão. Procuramos resgatar experiências passadas e verificar as atuais condições de produção de vídeos na USP. Nesse levantamento detectamos algumas constantes que indicam a necessidade de se estabelecer políticas para o audiovisual na Universidade. / This thesis focuses the audiovisual production pragmactical aspects mainly the video one wich is being made in the University of São Paulo (USP) academic environment. The University as an environment where Science is developed, throughout research and it reproduces the scientific thinking throughout education, it is also a fertile environment to audiovisual activities. Along the 19th and the 20th centuries, the scientific progress made possible the creation of sound and image technologies, since photo til WEB sites, wich so deeply enlightened the contemporany world. By the turn, these same techniques contribute to development of the scientific researches such as the telescopy, the microscopy and the other systems of the lighting spectrum analyses. The USP, along its 60 years old history, sheltered many production of films and videos linked to teaching, research and extension activities. We enlightened not only past experiences but also the up-to-date conditions of video production in USP. This survey shows same constant issues wich to the need of audiovisual policies in the Universiy.

This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.

Esta dissertação enfoca os aspectos práticos da produção audiovisual, destacadamente em vídeo, no ambiente acadêmico da Universidade de São Paulo. A universidade como ambiente onde se desenvolve a Ciência, através da pesquisa, e se reproduz o pensamento científico, através do ensino, é também um ambiente propício às atividades do audiovisual. O avanço científico dos séculos XIX e XX permitiram a criação de tecnologias da imagem e do som, desde a fotografia aos WEB sites, que tão profundamente marcam o mundo contemporâneo. Por sua vez, estas mesmas técnicas muito contribuíram para os desdobramentos das pesquisas científicas, com a telescopia, a microscopia e demais sistemas de análise do espectro. A Universidade de São Paulo, em mais de 60 anos de história, abrigou diversas iniciativas de produção de filmes e vídeos vinculados a atividades de ensino, pesquisa e extensão. Procuramos resgatar experiências passadas e verificar as atuais condições de produção de vídeos na USP. Nesse levantamento detectamos algumas constantes que indicam a necessidade de se estabelecer políticas para o audiovisual na Universidade. / This thesis focuses the audiovisual production pragmactical aspects mainly the video one wich is being made in the University of São Paulo (USP) academic environment. The University as an environment where Science is developed, throughout research and it reproduces the scientific thinking throughout education, it is also a fertile environment to audiovisual activities. Along the 19th and the 20th centuries, the scientific progress made possible the creation of sound and image technologies, since photo til WEB sites, wich so deeply enlightened the contemporany world. By the turn, these same techniques contribute to development of the scientific researches such as the telescopy, the microscopy and the other systems of the lighting spectrum analyses. The USP, along its 60 years old history, sheltered many production of films and videos linked to teaching, research and extension activities. We enlightened not only past experiences but also the up-to-date conditions of video production in USP. This survey shows same constant issues wich to the need of audiovisual policies in the Universiy.

This thesis focuses on documentaries by North African women, who have been marginalised within the limited space of the field of African filmmaking. I illustrate how North African cinema has suffered from neglect in studies on African as well as Arab culture and particularly African and Arab cinema. I discuss the work of four pioneering women documentary makers in Egypt, Tunisia, Algeria and Morocco. Consecutively I will discuss Ateyyat El Abnoudy, Selma Baccar, Assia Djebar and Izza Génini’s work. My approach is transnational and Bakhtinian in the sense that I am an outsider looking in. I promote a constant self-awareness as a Western European and an academic interested in the area that is defined as the Middle East. Like the documentary makers, I take the nation state as a starting point so as to understand its effects, in order to be able to critique it and place the films in a transnational context. The documentaries in this thesis illustrate that films of a socio-political nature contest the notion of a singular national identity and can become a means of self-definition. Asserting one’s own cultural and national identity, and subjectively offering the spectator an individual’s interpretation of that self-definition, is a way towards female emancipation. Going against the grain and avoiding stereotypes, evading censorship and dependence on state control, these directors find ways to give a different dimension to their identity. Analysing the work of these four pioneering filmmakers, I uncover diverse female subject matters treated by a similar aesthetic. I argue that through overlooked cinematic techniques, they succeed in subverting the censor and communicating a subtle but convincing critique of the patriarchal system in their respective countries. Their preoccupation with representing ‘the other half’ puts a new and under-explored spin on perceptions of anti-establishment filming with subtly emancipating consequences. I suggest that their common aesthetic is one that develops moderation in terms of context, content and style. There is a cinematic way of implicitly subverting not only the (colonial) past but also the (neo-colonial) present which goes further than re-inscription or compensation: new modes of resistance co-exist with the more rebellious and heroic ones. These women’s films rewrite, imply and contemplate rather than denounce and attack heroically. They do not reject as much as interrogate their situations, counting on the empathic and intersubjective abilities of the spectator. A relationship of trust between director, subject and spectator is crucial if we want to believe in the subalterns’ aptitude for voicing issues and gazing back. I reveal a different approach to communication beyond the verbal, and a belief in the subjects’ capacities to speak and listen. This is echoed in the filmmaker’s sensitive analysis of the subjects’ expression and voice and the non-vocal expression – the gaze. The intended outcome is dependent on the willingness of the spectator to take part in the intersubjective communication triangle. I conclude with the idea that moderation is the foundational concept of a post-Third Cinema transnational aesthetic in North Africa. Ateyyat El Abnoudy, Selma Baccar, Assia Djebar and Izza Génini are pioneers of women’s filmmaking in North Africa, who opened up a space for underrepresented subjects, voices and gazes.