Made available in DSpace on 2014-06-11T19:32:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-03-05Bitstream added on 2014-06-13T19:25:52Z : No. of bitstreams: 1 correajunior_fd_dr_assis.pdf: 1280807 bytes, checksum: 1f6f4709aab2611bc68135fe8dfadadc (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esse trabalho pretendeu reconstruir os debates da Federação Internacional de Arquivos de Filmes (Fiaf) no período entre os anos de 1948 e 1960. A Tese é que no período em foco nessa pesquisa estava em pauta no âmbito da Fiaf uma série de projetos que em seu conjunto formavam uma unidade coerente – sistematizada na ideia da constituição de um Instituto Internacional de História, Arte e Ciência Cinematográfica da Fiaf -, e que ajudaria a proteger a federação, dando-lhe um mínimo de autonomia frente ao novo mercado que ela mesma ajudou a engendrar: o mercado do patrimônio cinematográfico. A Tese postula também que a crise da Fiaf (1959/60) – uma crise da autonomia da federação frente ao mercado – é a origem do malentendido na Fiaf entre o conceito de difusão de cultura cinematográfica – ações guiadas por conceitos, concepções e posicionamentos políticos/ pedagógicos em torno do cinema e da sociedade – e a ideia de acesso ao patrimônio, que não possui os pressupostos da difusão arrolados acima / This Thesis aims to reestablish the debates of the International Federation of Films Archives (Fiaf) between 1948 and 1960. The thesis sustains that in this period there was a group of projects in Fiaf organized around the idea of an International Institute of History, Arts and Science Research. The goal of this Institute was to protect the Federation, giving it some autonomy to face the new market that the Federation itself had also helped to create: the market of cinematography heritage. This Thesis also proposes that the crisis of Fiaf (1959/60) was the origin of the misunderstanding between the concept of diffusion – actions guided by concepts, conceptions and political/ pedagogical positionings about cinema and society – and the idea of access to heritage, which has not the same assumptions of the concept of diffusion described above

Submitted by Fernando Henrique Bononi Verga (fernando.jornalista@hotmail.com) on 2018-09-13T15:18:05Z No. of bitstreams: 1 MESTRADO VERSÃO FINAL.docx: 9189974 bytes, checksum: 29339496b1219b1498511af60925970d (MD5) / Rejected by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: 1 - O formato do arquivo deve ser em PDF. Agradecemos a compreensão on 2018-09-14T12:59:08Z (GMT) / Submitted by Fernando Henrique Bononi Verga (fernando.jornalista@hotmail.com) on 2018-09-14T18:24:38Z No. of bitstreams: 1 MESTRADO VERSÃO FINAL.pdf: 4497219 bytes, checksum: 55da3c3f476f9427ecd58c594330f2cf (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-09-18T12:31:31Z (GMT) No. of bitstreams: 1 verga_fhb_me_bauru.pdf: 4396149 bytes, checksum: 4c3311752700bd81b53f54fd6a536680 (MD5) / Made available in DSpace on 2018-09-18T12:31:31Z (GMT). No. of bitstreams: 1 verga_fhb_me_bauru.pdf: 4396149 bytes, checksum: 4c3311752700bd81b53f54fd6a536680 (MD5) Previous issue date: 2018-08-22 / Este estudo mostra como o Romantismo alemão influenciou e moldou uma geração de filmes que se transformaram em ícones da cinematografia mundial e constituíram um gênero próprio de seu tempo, o expressionismo. Através da metodologia de análise cinematográfica de Vanoye e Goliot-Lété, apoiada pela concepção de contextualização histórica de Marc Ferro, apresenta-se uma leitura dos aspectos românticos presentes nos filmes O Gabinete do Dr. Caligari (1919), de Robert Wiene, O Golem – Como veio ao mundo (1920), de Paul Wegener, e Nosferatu (1922), de F. W. Murnau. A análise evidencia que essa influência está presente em todos os aspectos dos filmes, sendo notada nas narrativas, na estética e no uso das técnicas cinematográficas, construindo uma mise-en-scène que estabelece uma atmosfera para cada obra e revela uma crítica em relação à modernidade. / This study shows how Romanticism influenced and shaped a generation of movies that became icons of the world cinematography and constituted a genre of its time, the expressionism. Through Vanoye and Goliot-Lété film analysis methodology, supported by Marc Ferro’s conception of historic contextualization, it presents an interpretation of the romantic aspects present on the following movies: The Cabinet of Dr. Caligari (1919), by Robert Wiene, The Golem (1920), by Paul Wegener, and Nosferatu (1922), by F. W. Murnau. The analysis evince that this influence is present in all aspects of the movies, being noted in narrative, aesthetics and in the use of cinematography techniques, building a mise-en-scène that creates an atmosphere for each work and reveals a criticism about the modern times.

Vidéos de direct de qualité professionnelle mises en scène sont créées en les enregistrant à partir de différents points de vue appropriées. Ceux-ci sont ensuite édités ensemble pour présenter une histoire éloquente remplie avec la capacité de tirer l'émotion prévu de téléspectateurs. La création de ces vidéos compétentes, implique la combinaison de multiples caméras de haute qualité et des opérateurs de caméra qualifiés. Nous présentons une thèse à faire même les productions à petit budget adepte et agréable en produisant des vidéos de Youtube professionnels de qualité sans un équipage entièrement équipée et coûteux de cameramen. Une caméra statique haute résolution annule et remplace l'équipe de tournage pluriel et leurs mouvements de caméra efficaces sont ensuite simulé par la quasi-panoramique - inclinaison - zoom dans les enregistrements originaux. Nous montrons que plusieurs caméras virtuelles peuvent être simulés en choisissant des trajectoires différentes de culture fenêtres à l'intérieur de l'enregistrement original. L'une des nouveautés principales de ce travail est un cadre de optimisation pour calculer les trajectoires des caméras virtuelles à l'aide des informations extraites de la vidéo originale basée sur des techniques de vision par ordinateur. Les acteurs présents sur scène sont considérés comme les éléments les plus importants de la scène. Pour la tâche de localiser et de nommer les acteurs, nous introduisons modèles génératifs pour apprendre vue personne indépendante et détecteurs spécifiques costume d'un ensemble d'exemples étiquetés. Nous expliquons comment apprendre les modèles à partir d'un petit nombre d'images clés marqués ou pistes vidéo, et comment détecter de nouveaux aspects des acteurs dans un cadre du maximum de vraisemblance. Nous démontrons que les modèles spécifiques comme des acteurs peuvent localiser avec précision les acteurs malgré les changements de point de vue et des occlusions, et d'améliorer de manière significative les taux de rappel de détection plus détecteurs génériques. La thèse présente ensuite un algorithme hors ligne pour le suivi des objets et des acteurs dans les séquences vidéo longues utilisation de ces modèles spécifiques d'acteurs. Détections sont d'abord effectuées pour sélectionner indépendamment emplacements candidats de l'acteur / objet dans chaque image de la vidéo. Les détections candidats sont ensuite combinés en des trajectoires lisses dans une étape d'optimisation en minimisant une fonction de coût qui représente les fausses détections et les occlusions. Les pistes d'acteur, nous proposons un cadre pour plusieurs clips générant automatiquement adaptés pour le montage vidéo en simulant pan-tilt-zoom mouvements de caméra dans le cadre d'une seule caméra statique. Notre méthode ne nécessite que peu de données utilisateur pour définir l'objet de chaque sous-séquence. La composition de chaque sous-clip est automatiquement calculée dans un cadre nouveau d'optimisation norme L1. Notre approche code pour plusieurs pratiques cinématographiques communs dans un seul problème de minimisation de la fonction de coût convexe, ce qui sous-clips esthétiquement agréables qui peuvent être facilement éditées ensemble en utilisant multi-pince logiciel off-the-shelf montage vidéo. / Professional quality videos of live staged performances are created by recording them from different appropriate viewpoints. These are then edited together to portray an eloquent story replete with the ability to draw out the intended emotion from the viewers. Creating such competent videos, involves the combination of multiple high quality cameras and skilled camera operators. We present a thesis to make even the low budget productions adept and pleasant by producing professional quality vidoes sans a fully and expensively equipped crew of cameramen. A high resolution static camera replaces the plural camera crew and their efficient camera movements are then simulated by virtually panning - tilting - zooming within the original recordings. We show that multiple virtual cameras can be simulated by choosing different trajectories of cropping windows inside the original recording. One of the key novelties of this work is an optimazation framework for computing the virtual camera trajectories using the information extracted from the original video based on computer vision techniques. The actors present on stage are considered as the most important elements of the scene. For the task of localizing and naming actors, we introduce generative models for learning view independent person and costume specific detectors from a set of labeled examples. We explain how to learn the models from a small number of labeled keyframes or video tracks, and how to detect novel appearances of the actors in a maximum likelihood framework. We demonstrate that such actor specific models can accurately localize actors despite changes in view point and occlusions, and significantly improve the detection recall rates over generic detectors. The dissertation then presents an offline algorithm for tracking objects and actors in long video sequences using these actor specific models. Detections are first performed to independently select candidate locations of the actor/object in each frame of the video. The candidate detections are then combined into smooth trajectories in an optimization step minimizing a cost function accounting for false detections and occlusions. Using the actor tracks, we propose a framework for automatically generating multiple clips suitable for video editing by simulating pan-tilt-zoom camera movements within the frame of a single static camera. Our method requires only minimal user input to define the subject matter of each sub-clip. The composition of each sub-clip is automatically computed in a novel L1-norm optimization framework. Our approach encodes several common cinematographic practices into a single convex cost function minimization problem, resulting in aesthetically-pleasing sub-clips which can easily be edited together using off-the-shelf multi-clip video editing software.

La libre diffusion de modèles 3D de qualité ainsi que la mise à disposition de nombreux moyens facilitant la création de contenus animés ont permis de populariser la production d'oeuvres cinématographiques 3D.A l'heure actuelle, on peut cependant observer un manque important d'outils permettant de traiter la cinématographie (placement des caméras pour l'enregistrement des plans) et d'effectuer le montage de tels contenus (sélection des plans et transitions entre caméras). La création d'un film nécessite la connaissance d'un grand nombre de règles et de conventions.La plupart des systèmes d'animation ne disposant pas de ces connaissances, le besoin de méthodes automatiques qui pourraient, au moins partiellement, assister l'utilisateur dans son entreprise créative, se fait de plus en plus ressentir. A travers cette thèse, nous abordons à la fois la gestion automatique de la cinématographie ainsi que le montage des plans générés.L'utilisation de caméras pour retranscrire les actions et événements se déroulant au sein d'un environnement dynamique est une préoccupation importante de beaucoup d'applications graphiques. Dans le contexte de la simulation de foule, nous présentons une nouvelle approche qui aborde le contrôle simultané de plusieurs caméras filmant un groupe de cibles. Nous proposons un système se reposant sur le modèle de "comportements guidées" développé par Reynolds. Celui-ci permet de contrôler et coordonner localement un ensemble de caméras évoluant dans un environnement afin de filmer les différents événements s'y déroulant.Le montage d'un film est une tache particulièrement complexe et méticuleuse qui nécessite de profondes connaissances du domaine. L'automatisation de cette tache requiert donc la formalisation de cette expertise. En utilisant la méthode de montage linéaire - ou "continuity editing" ; il s'agit de la technique de montage la plus utilisée - comme référence pour l'évaluation du montage, nous présentons une nouvelle approche au montage automatique d'animations 3D se reposant sur une méthode d'optimisation. En s'appuyant sur une hypothèse semi-Markovienne, notre méthode utilise la programmation dynamique afin de calculer efficacement les solutions.A partir de notre première contribution, nous proposons ensuite une nouvelle approche à la création de "replay" cinématiques qui utilise à la fois les informations narratives et géométriques extraites du jeu pour automatiquement calculer la trajectoire de la caméra. En combinant ce système avec notre framework de montage, notre solution génère rapidement les replay de sessions de jeu.Enfin, en prenant inspiration de pratiques couramment utilisées dans l'industrie du cinéma, nous proposons une nouvelle approche à la planification de mouvements de caméra. Notre solution assure le réalisme des trajectoires en contraignant les caméras sur des rails virtuels. La position et l'orientation de la caméra sont optimisées dans le temps le long du rail pour satisfaire différentes propriétés visuelles. Les plans générés sont ensuite envoyés à notre framework de montage qui génère alors la séquence cinématographique. / The wide availability of high-resolution 3D models and the facility to create new geometrical and animated content, using low-cost input devices, open to many the possibility of becoming digital 3D storytellers. To date there is however a clear lack of accessible tools to easily create the cinematography (positioning and moving the cameras to create shots) and perform the editing of such stories (selecting appropriate cuts between the shots created by the cameras). Creating a movie requires the knowledge of a significant amount of empirical rules and established conventions. Most 3D animation packages do not encompass this expertise, calling the need for automatic approaches that would, at least partially, support users in their creative process. In this thesis we address both challenges of automating cinematography and editing in virtual environments.Using cameras to convey events and actions in dynamic environments is a major concern in many CG applications.In the context of crowd simulation, we present a novel approach to address the challenge of controlling multiple cameras tracking groups of targets. In this first contribution we propose a system that relies on Reynolds' model of steering behaviors to control and locally coordinate a collection of autonomous camera agents evolving in the dynamic 3D environments to shot multi-scale events.Editing a movie is a complex and tedious endeavor that requires a lot of expertise in the field. Therefore, automating the process calls for a formalization of this knowledge. Using continuity editing -- the predominant style of editing -- as a benchmark for evaluating edits, we introduce a novel optimization-based approach for automatically creating well-edited movies from a 3D animation. We propose an efficient solution through dynamic programming, by relying on a plausible semi-Markov assumption.Building upon our first contribution we then propose a novel importance-driven approach to cinematic replay that exploits both the narrative and geometric information in games to automatically compute camera paths. Combined with our editing framework, our solution generates coherent cinematic replays of game sessions.Finally, drawing inspiration from standard practices in the movie industry, we introduce a novel approach to camera path planning. This solution ensures realistic trajectories by constraining camera motion on a virtual rail. The camera position and orientation are optimized in time along the rail to best satisfy visual properties. The computed shots constitute relevant inputs for the editing framework which then generates compelling cinematographic content.

Thesis submitted in fulfilment of the requirements for the degree Doctor of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2013 / Digital drawing and animation, using basic computer software, opens up new possibilities in creative practice-­‐led research. The digital medium, with its relative ease of reproduction and storage of images, facilitates a reflective method of thinking-­‐while-­‐ drawing, thereby stimulating the creative process and providing a unique means of reflection-­‐in-­‐action. The computer’s ability to record images allows for temporal disruption, providing possibilities for exploring alternative creative solutions as well as retrospective, reflection-­‐on-­‐action. This thesis presents an interrogation of the researcher’s creative practice, as well as the findings and creative artefacts of other relevant practitioners in the field of digital drawing, animation, and related creative activities. A reflexive methodology was used to investigate the relationship between making, doing, and knowing in creative practice. The findings are supported by creative outputs (making), reflection on the creative process in relation to supporting literature (doing), and knowledge resulting from this reflection together with related theoretical research (knowing). The research revealed that digital drawing and animation supports new modes of making resulting in the production of original creative artefacts. It was further revealed that in relation to “doing”, the digital medium supports reflective practice by enabling the creative practitioner to document and reflect on these outputs both during and after making. The resulting reflexive actions combined with theoretical research lead to revelations concerning the relationship between thinking and drawing when using digital media as well as in a broader sense. The study thus contributes insights concerning art and design thinking, and makes a contribution to new developments in visual arts and design research. Practice-­‐led research introduces a theoretical paradigm that has methodological implications particularly in the context of the current re-­‐structuring and transformation of art and design education at South African Universities of Technology. The findings indicate that digital drawing and animation can encourage a critical and reflective approach not only in the work of creative practitioners by supporting new modes of making, but that it also has positive implications for visual arts research and teaching. In this regard the research highlights the need for promoting the integration of theory and practice in visual arts and design education curricula.

Orientador: Laymert Garcia dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-09T04:59:07Z (GMT). No. of bitstreams: 1 Feola_MauroAlexandre_M.pdf: 31333485 bytes, checksum: 6b2c18e5197966deaba86bfec7b0eaf7 (MD5) Previous issue date: 2007 / Resumo: Este trabalho procura descrever o que vem a se constituir como utópico no cinema contemporâneo, mais precisamente em alguns filmes que integram a obra cinematográfica do diretor escandinavo Lars von Trier. O foco maior da pesquisa é a análise de Dançando no Escuro. Porém, há que se destacar as análises feitas para Epidemic e Os Cinco Obstáculos. Os livros que o filósofo francês Gilles Deleuze escreveu sobre o cinema integram o arcabouço teórico que orienta a análise dos filmes citados. De todos os seus conceitos, a imagem-tempo e os seus diferentes tipos - imagens-sonho e imagens-cristal, principalmente - foram os instrumentos que nos guiaram para se chegar aos resultados finais desta pesquisa / Abstract: This work aims to describe what it might constitute as utopist in the contemporary cinema, more precisely in some of the films that take part of Scandinavian Lars von Trier's cinematography. This research has a major focus in Dancer in the Dark. However, it must be underlined that analyses have been dane for Epidemic and The Five Obstructions. The books about cinema written by the French philosopher Gilles Deleuze integrate the framework that directs the analyses for the cited films. Amongst Deleuze's concepts, time-image and its different types - mainly dream-images and crystal-images - have been the instruments that guided us to reach the final results of this research / Mestrado / Sociologia da Cultura / Mestre em Sociologia

São muitas as parcerias no cinema, mas a que relaciona o diretor de cena ao diretor de fotografia é certamente a principal. A proposta desta dissertação de mestrado é analisar o estilo de fotografia criado por Eduard Tissé em três dos filmes que trabalhou com Eisenstein. A metodologia teórica da pesquisa baseia-se em Roland Barthes a partir da análise do artefato primeiro do cinema, que é o fotograma. As dimensões sociais ligadas ao materialismo dialético e suas aplicações ao filme, na forma como o espectador promove a leitura de sentidos, preocupavam o diretor soviético. Com isso evidencia-se o princípio conceitual de Eisenstein, desenvolvido pela célula de montagem, na visão da sua missão sócio-cultural em busca da fotografia do conflito. / There are many partnerships in the movie business, but that between director and director of photography is certainly the main one. The purpose of this dissertation is to analyze the style of photography created by Eduard Tissé in three of the movies he worked with Eisenstein. The theoretical research methodology is based on Roland Barthes from the analysis of the first film artifact: the frame. The social dimensions related to the dialectical materialism and its applications to the cinema - the way the audience reads the film sense - worried the soviet director. With that, the conceptual principle developed by Eisenstein is highlighted in search of the conflict cinematography.

A fotografia surge no século XIX, fruto da industrialização e, como um novo modo de expressão, estimula novas formas pensar e fazer imagens. No início do século XX, motivado por estudos de sequencias fotográficas, nasce o cinema. As duas linguagens são resultado visível das estruturas da modernidade (desenvolvimento tecnológico, expansão industrial e cultura de massa) e impulsionaram a criação de novas formas de comunicação. Neste contexto surge um novo tipo de mídia: as revistas ilustradas com fotografias. Essa forma de publicação despontou na Europa, após o fim da Primeira Guerra Mundial e se espalhou pelo mundo impulsionada pela ascensão de regimes totalitários, que obrigou muitas pessoas ao exílio, ajudando a propagar as ideias do novo meio. Apoiadas na visualidade como principal veículo de discurso, ajudaram a consagrar o fotojornalismo como meio de comunicação. Provavelmente a revista ilustrada mais conhecida no mundo, a norte-americana Life, foi lançada em 26 de novembro de 1936. Seu projeto editorial baseava-se nos modelos europeus, que a transmitiam a informação por meio de reportagens fotográficas. Por privilegiarem a visualidade, as ilustradas são apontadas como o elo entre a fotografia e o cinema. Esta dissertação se propõe a analisar as características gerais da Life e a discutir os códigos visuais que ligam a linguagem das fotorreportagens à cinematografia. / Photography emerges in the 19th century, as a consequence of industrialization and, as a new fashion of expression, stimulates new ways of thinking and producing images. In the beginning of the 20th century, inspired by studies on photographic sequences, the cinema is born. Both languages are the result of the modern scenario (technological development, industrial expansion and mass culture) and boosted the creation of new means for communication. In this context a brand-new media is created: magazines illustrated with photographs. This way of printing first appeared in Europe, after World War I ended, and spread all over the world driven by the rise of totalitarian systems, forcing people into exile, helping to sow the ideas of the new media. Based on visibility as the main vehicle of speech, they established photojournalism as a communication tool. Life, possibly the most famous illustrated American magazine in the world, was launched in 1936. Its editing design was based in the European models favoring the broadcast of information through photo coverage. Because they favor the visual communication, the illustrated magazines are considered the connecting link between photography and cinema. The present thesis proposes to analyze the general features of Life magazine and to debate the visual codes that connect the ways of communication between photo-reportage and cinematography.

A presente pesquisa investiga como os elementos visuais ao dispor dos cineastas podem contribuir para a representação de estados alterados de percepção no cinema, de modo a ampliar a discussão sobre a expressividade do trabalho de direção de fotografia. Por meio da análise e interpretação de três filmes brasileiros que apresentam personagens fora de si e construções visuais contundentes - Estorvo (2000), de Ruy Guerra, Filme de Amor (2003), de Júlio Bressane e A Concepção (2005), de José Eduardo Belmonte -, a pesquisa discute de que maneira as características da imagem podem contribuir para a criação de pontos de vista, atmosferas e sentidos, que permitem a apreensão do filme para além de sua compreensão intelectual. Partindo do reconhecimento da ligação entre narrador e personagens, a análise se volta à força expressiva das imagens usadas ao longo dos filmes, tomando como referência reflexões sobre o expressionismo na pintura e no cinema. Essa discussão serve de base para a identificação de um imaginário sobre os estados alterados de percepção e suas relações com a sociedade presente na cinematografia brasileira dos anos 2000. / The present research investigates how the visual elements available to the filmmakers can contribute to the representation of altered states of perception in the cinema, in order to broaden the discussion about the expressiveness of the cinematography work. Through the analysis and interpretation of three Brazilian films that present characters out of their minds and rich visual constructions - Estorvo (2000), by Ruy Guerra, Filme de Amor (2003), by Júlio Bressane and A Concepção (2005), by José Eduardo Belmonte -, the research discusses how the characteristics of image can contribute to the creation of points of view, moods and senses, which in turn make possible the apprehension of the film beyond its intellectual understanding. Acknowledging the connection between narrator and characters, the analysis focus on the expressive force of the images used throughout the films, taking as reference reflections on Expressionism in painting and in cinema. This discussion serves as basis for the identification of a position regarding altered states of perception and their relations with society in Brazilian cinematography of the 2000s.

Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T18:32:25Z (GMT). No. of bitstreams: 1 Serra_JenniferJane_M.pdf: 8736280 bytes, checksum: c66b3c043b6914ea9a87103eb4ba4909 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa teve por finalidade analisar os mecanismos através dos quais filmes de animação podem ser vistos pelo espectador a partir de uma leitura documental e como a animação pode ser utilizada como estratégia discursiva em filmes documentários. Para tanto, delimitou-se como objeto de análise filmes classificados, tanto por seus realizadores como por instituições relacionadas ao campo do cinema, como "documentário animado" e utilizou-se a abordagem Semiopragmática do filme para analisar esse tipo de produção com base no conceito de "modo de leitura documentarizante" proposta pelo teórico Roger Odin. O corpus fílmico para esta análise foi composto pelos seguintes filmes: Silence (Sylvie Bringas e Orly Yadin, Inglaterra, 1998); A is for Autism (Tim Webb, Inglaterra, 1992); Animated Minds (Andy Glynne, Inglaterra, 2003 e 2008); Revolving Door (Alexandra e David Beesley, Austrália, 2006); Dossiê Rê Bordosa (Cesar Cabral, Brasil, 2008); O Divino, De Repente (Fábio Yamaji, Brasil, 2009). A análise desses filmes, em particular, e de outros documentários de animação permitiu visualizar que a leitura de um documentário articula operações e processos de produção de sentido e afetos concernentes tanto ao campo do cinema documentário quanto do cinema de animação. Em documentários animados, as operações do processo de leitura são suscitadas por estratégias narrativas próprias da animação, tais como metamorfose, simbolismo, performance, etc., e a leitura documentarizante pode ser conduzida por instruções que não recaem apenas sobre aspectos estilísticos do documental, mas também sobre elementos narrativos da animação. Além disso, a animação tem o poder de tornar visível o que não pode ser captado pelo olhar humano e pela câmera, tornando-se uma poderosa ferramenta para expor sentimentos, pensamentos e idéias e para explorar temas através de uma abordagem subjetiva. A união entre animação e narrativa documental no documentário animado, entretanto, é carregada de tensão, especialmente porque a animação é tradicionalmente associada ao universo do "faz de conta" e sua natureza subjetiva entra em conflito com a visão tradicional do documentário como sendo um relato objetivo sobre o real e relacionado aos discursos científicos. No processo de leitura de um documentário animado essa tensão está presente e é uma de suas particularidades. A natureza aparentemente contraditória da junção entre animação e documentário chama a atenção do espectador para novas possibilidades de representação do mundo histórico que não apenas os modos já estabelecidos de narrativa documental e suscita a reflexão sobre a abordagem das questões envolvidas nas asserções apresentadas pelo filme / Abstract: This research aims to examine how the viewer can read animated films through a documentary reading and how animation can be used as a discursive strategy by documentary films. For this purpose, films classified - by their makers or institutions related to the cinema field - as "animated documentary" were chosen and used under the Semio-Pragmatic approach. The objective is to analyze this kind of production based on the concept of "documentarizing mode of reading" proposed by theorist Roger Odin. The set of films for this analysis consists of: Silence (Orly Yadin and Sylvie Bringas, England, 1998), A is for Autism (Tim Webb, England, 1992); Animated Minds (Andy Glynne, England, 2003 and 2008); Revolving Door (Alexandra and David Beesley, Australia, 2006); The Rê Bordosa Dossier (Cesar Cabral, Brazil, 2008), O Divino, De Repente (Fábio Yamaji, Brazil, 2009). The analysis of these films and other animated documentaries shows that the reading of an animated documentary articulates operations and production of meaning and affects related to both the fields of documentary and animation. The operations of the reading process of an animated documentary are raised by animation's narrative strategies, such as metamorphosis, symbolism, performance, etc., and the documentarizing reading can be produced by elements concerned to stylistic aspects of the documentary, but also based on elements of animation. In addition, animation has the power to make visible what is invisible to the human eye and to the camera, making the animated documentary a powerful tool to reveal feelings, thoughts and ideas and to explore issues through a subjective approach. The relationship between animation and documentary narrative in the animated documentary, however, has a tension. Because animation is traditionally associated with the fairytale world and it has a subjective nature it conflicts with the vision of the documentary as an objective narrative about the real and related to scientific discourses. In the process of the animated documentary reading this tension is present and one of its peculiarities. The contradictory nature of the junction between animation and documentary draws to the viewer the attention for new possibilities of representations about the historical world beyond the established modes of documentary narrative and it raises the viewer's reflection about the approach of the issues involved in the assertions made by the film / Mestrado / Multimeios / Mestre em Multimeios