The topic of my diploma thesis is a comparison of speculation about a film from two perspectives. Firstly, it deals with the approach of Jan Mukařovský, a Czech structuralist, who was one of the first in the Czech context to explore the time concept in a film. Secondly, it considers the approach of Gillese Deleuze, who was accredited with the new view on the time-image in a film, however, much later than Jan Mukařovský. The aim of the paper is to explain the way the approaches of Mukařovský and Deluze relate to other approaches of thinking about time in films, the influence of other concepts of their time that they both theoretically based their views on, as well as specifying the films that became the starting points of exploring the time in films. The method of comparison is divided into three aspects, as three comparison levels.

La cinematografía peruana ha tenido a lo largo de los años varias representaciones y construcciones de personajes que de alguna forma u otra influyen y crean una imagen distorsionada de la realidad figurando entre ellas los personajes femeninos. El objetivo principal de esta investigación es realizar un análisis en base a la representación y sexualización de la imagen de la mujer en las películas peruanas de índole erótico. Debido a esto se ha tomado como unidades de estudio las películas peruanas Mañana te cuento (2005) y Django: Sangre de mi sangre (2018). Este objetivo tendrá como desarrollo principal la realización de un análisis de las dimensiones de los personajes, las acciones que desarrollan y el contexto al que están inmersos. Esta investigación se desarrollará en base a la estrategia cualitativa. A partir de esto, se eligió como paradigma el interpretativo y diseño de investigación el estudio de casos. Por tal motivo, al ser las unidades de investigación largometrajes, es que la técnica a emplear es un análisis de contenido la cual se va a basar en el instrumento de recolección de datos a través de una guía de análisis de contenido de estas dos películas peruanas: Mañana te cuento (2005) y Django: Sangre de mi sangre (2018). El escrutinio incluye una evaluación en base a la teoría de construcción de personajes, el género cinematográfico, la construcción del ideal de mujer y una mirada a la sociedad peruana actual. / Peruvian cinematography has had, over the years, various representations and constructions of characters that in some way or another influence and create a distorted image of reality, including female characters. The main objective of this research is to carry out an analysis based on the representation and sexualization of the image of women in Peruvian erotic films. Due to this, the Peruvian films Tomorrow I tell you (2005) and Django: Blood of my blood (2018) have been taken as study units. This objective will have as its main development the realization of an analysis of the dimensions of the characters, the actions they develop and the context in which they are immersed. This research will be developed based on the qualitative strategy. Based on this, the interpretative and the case study research design was chosen as the paradigm. For this reason, as the research units are feature films, the technique to be used is a content analysis which will be based on the data collection instrument through a content analysis guide for these two Peruvian films. : Tomorrow I'll tell you (2005) and Django: Blood of my blood (2018). The scrutiny includes an evaluation based on the theory of character construction, the cinematographic genre, the construction of the ideal of women and a look at current Peruvian society. / Trabajo de investigación

Solicitud de embargo por publicación en revista indexada. / La investigación analiza las brechas de género en la producción audiovisual cinematográfica peruana y sus efectos a nivel profesional, social, económico y emocional en un grupo de mujeres productoras con cinco años a más de experiencia en la cinematografía peruana. Mediante entrevistas semiestructuradas, se analizan las experiencias obtenidas en sus trayectorias y, de esta manera, se identifica cómo perciben y afrontan las brechas de género en su cotidianidad. Como resultado, se advierte la existencia de brechas de género en el rol de la producción y el ámbito cinematográfico, en donde se estarían encasillando labores asignadas al sexo femenino y masculino por una réplica de sesgos sociales. Se detecta que la producción cinematográfica peruana no sería ajena a las desigualdades, implicando un desequilibrio en el desarrollo y posibilidad de exploración de los profesionales. La presente investigación permite analizar un nuevo rubro laboral, evidenciando la existencia de las brechas de género y sus consecuencias en un ámbito que se encuentra en apogeo, en donde se puede revertir el desequilibrio generando nuevas oportunidades para las mujeres. / This investigation analyzes the gender gaps in Peruvian cinematographic audiovisual production and its effects on a professional, social, economic and emotional level in a group of women producers with five years of experience in the Peruvian cinematography field. Through semi-structured interviews, the experiences obtained in their careers are analyzed and, in this way, it is identified how they perceive and deal with gender gaps in their daily lives. As a result, it is pointed out that there are gender gaps in the role of production and in the cinematographic field, where jobs assigned to the female and male genders would be assigned due to a replica of social biases. It is detected that Peruvian film production could not be immune to inequalities, implying an imbalance in the development and possibility of exploration of professionals. This research allows us to analyze a new labor category, showing the existence of gender gaps and their consequences in an area that is at its peak, where the imbalance can be reversed, generating new opportunities for women. / Tesis

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Ce mémoire aborde le travail de l'acteur dans le cinéma de John Cassavetes, particulièrement à travers sa collaboration avec l'actrice Gena Rowlands. À travers certains auteurs qui se sont penchés sur la question de l'acteur de cinéma, je tente de déceler les rapports qu'entretiennent l'actrice et le cinéaste avec la philosophie antique, les exercices spirituels et les techniques de soi. J’étudie également comment il met en scène une forme de remédiation du théâtre dans son cinéma. Pour m'aider, je parcours les œuvres de Hannah Arendt, Nicole Brenez, Ray Carney, Stanley Cavell, Michel de Certeau, Michel Foucault, Pierre Hadot et Siegfried Kracauer, dans le but de mieux cerner une approche de la théorie du cinéma qui voit le travail de l'acteur comme forme d'expression à part entière et comme source d’inspiration pour le spectateur qui peut voir en l’acteur une figure exemplaire. / This master thesis discusses the work of film actors in the cinema of John Cassavetes, especially through his collaboration with actress Gena Rowlands. Throughout the writings of authors who examined the subject, I explore the relation between the actress and the ancient philosophy, spiritual exercices and techniques of self. I also study how Cassavetes’ direction creates a theater remediation in his films. I explore the thoughts of Hannah Arendt, Nicole Bronze, Ray Carney, Stanley Cavell, Michel De Certeau, Michel Foucault, Pierre Hadot and Siegfried Kracauer as a way to understand better a film theory approach that considers the work of film actors as a form of expression of its own, and as a source of inspiration for the viewer that can see actors as exemplary figures.

Ce projet de maîtrise explore les défis et les enjeux d’une approche filmique collaborative avec des jeunes, en situation pédagogique et en contexte post-conflit en Colombie. Cette recherche-création participe à la contribution scientifique dans un domaine interdisciplinaire, celui des arts – précisément la pratique cinématographique – et de la consolidation de la paix ; c’est-à-dire dans une pratique artistique qui s’engage dans la réconciliation, le développement communautaire et la justice sociale. Elle questionne l’action de filmer - comment agir et réagir - avec une communauté affectée par la violence et s’interroge sur comment utiliser les outils cinématographiques pour qu’ils soient bénéfiques à une communauté en situation de précarité. Le premier chapitre est consacré à la contextualisation du conflit armé en Colombie et aux enjeux de reconstruction. Dans le deuxième chapitre, j’expose à partir de mon expérience de terrain, la méthodologie et le dispositif que j’ai développé dans la réalisation du film En el fondo del núcleo del átomo, las chispas… au sein d’une école rurale en Colombie. On analysera de près les principes, les échecs et les réussites d’une approche collaborative située. / This master's project explores the challenges and issues of a collaborative film approach with young people, in an educational situation and in a post-conflict context in Colombia. This research-creation participates in the scientific contribution in an interdisciplinary field, that of the arts – precisely the practice of cinema – and the consolidation of peace; that is, in an artistic practice that engages in reconciliation, community development and social justice. It questions the action of filming - how to act and react - with a community affected by violence and questions how to use cinematographic tools so that they are beneficial to a community in a precarious situation. The first chapter is devoted to the contextualization of the armed conflict in Colombia and the challenges of reconstruction. In the second chapter, I expose from my field experience, the methodology and the device I developed in the realization of the film En el fondo del núcleo del átomo, las chispas… within a rural school in Colombia. We will closely analyze the principles, failures and successes of a situated collaborative approach.

Ce mémoire porte sur les représentations de la masculinité traumatisée dans le cinéma expressionniste allemand. Le traumatisme de la Première Guerre mondiale occasionne, en Allemagne, l’ébranlement des identités genrées individuelles et de l’identité masculine nationale. Par le biais de l’analyse de cinq films expressionnistes (Das Cabinet des Dr Caligari, Robert Wiene, 1920 ; Nosferatu, Wilhelm Murnau, 1922; Die Nibelungen, Fritz Lang, 1924 ; Orlacs Hände, Robert Wiene, 1924 ; Metropolis, Fritz Lang, 1927), le présent mémoire étudie à la fois l’expression du genre, du traumatisme et de l’Histoire nationale. Nous y envisagerons l’image filmique comme un lieu de conflits et de compromis. C’est particulièrement par le biais des enjeux de contrôle, des corps et de leur économie et des dynamiques d’agentivité dans les rapports hommes-femmes que se manifeste l’ébranlement de la masculinité allemande d’après-guerre. Si certaines œuvres confrontent les anxiétés masculines de l’époque en traitant frontalement des traumatismes liés à la guerre et au bouleversement de la place de l’homme dans la société d’après-guerre, d’autres s’appliquent plutôt à rétablir une masculinité d’avant-guerre par l’expression de fantasmes nationaux et individuels de pouvoir et de virilité. En privilégiant une approche psychanalytique du cinéma, ce mémoire s’intéresse notamment aux mécanismes de défense qui transparaissent dans les œuvres. Il s’agit, tout compte fait, de comprendre comment le cinéma négocie avec le genre suite au traumatisme, et comment la temporalité peut influencer cette négociation. / This thesis focuses on representations of traumatized masculinity in German Expressionism. In Germany, trauma caused by the First World War unsettled individual gender identities and upset national conceptions of male identity. The thesis examines issues of gender, trauma and national history in five Expressionist films (Das Cabinet des Dr Caligari, Robert Wiene, 1920; Nosferatu, Wilhelm Murnau, 1922; Die Nibelungen, Fritz Lang, 1924; Orlacs Hände, Robert Wiene, 1924; Metropolis, Fritz Lang, 1927). These films comprise notable embodiments of conflict and compromise. It is argued that the disruption of German masculinity after the war registers in them by way of issues related to control, corporeality and gender relations. Contemporary anxieties about masculinity are tackled differently in the films, with some directly addressing themes of war trauma, emasculation and the postwar disruption to men’s traditional social roles and others seek to re-establish pre-war notions of manhood through expressing national and individual fantasies of power and virility. Drawing on a psychoanalytic approach to cinema, this thesis examines how defence mechanisms operate in the films. Key aims are to understand how Expressionist cinema addresses the impact of trauma on masculine identity and also how its approach to articulating trauma shifts through time.

The Last Two Years of David Brachman is a feature-length digital film directed, written and produced by Marcos Casilli in pursuit of the Master of Fine Arts in Film & Digital Media from the University of Central Florida. This is a very personal film that presents a sometimes-humorous approach to the following question: what makes life worth living? The film was made on what is categorized as a microbudget, but following the studio production model for the most part. This thesis presents a critique of that combination, advocating for a "slow cinema" model instead.

Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.

Architecture and Film - A Symbiotic Relationship. This project is not intented to be revolutionary, but rather exploratory. To delve deeper into ones interests and better understand them. My architectural studies are five years young, and my passion for film has been with me for as long as I can remember. That is why I see my diplomaproject as an opportunity to bring both worlds that fuel my creativity together. I do not see myself as an architect without being a filmmaker and I cannot create worlds as a filmmaker without exploring architecture. An anomaly was detected in the northern region of Europe. Satellite images show an island not included in any of our maps on which monolithic structures are resting. The clean geometry and the elusive dimensions show monuments difficult to specify in time. These monuments seem ancient, but they are not primitive. They show advanced knowledge of our celestial bodies from however long ago. These are The Monuments of The Ones Before. Once, before our time. To you the reader: We have made a startling discovery. This is the birthplace of astronomy.