Orientadores: Antonio Fernando da Conceição Passos, Marcello Giovani Tassara / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T08:12:31Z (GMT). No. of bitstreams: 1 LucenaJunior_Alberto_D.pdf: 14069485 bytes, checksum: 0faaf35a9f1dd903e00f992649686519 (MD5) Previous issue date: 2012 / Resumo: A pesquisa almeja formular uma teoria estética para o cinema de animação hiperrealista. Após completar meio século de existência, a computação gráfica finalmente alcançou um estágio tecnológico no qual o artista dispõe de ferramentas poderosas e flexíveis o suficiente para enfim encarar o desafio de criar filmes com imagens realistas sintéticas absolutamente convincentes. Impõe-se, entretanto, a necessidade de fundamentação estética para fornecer o apoio artístico capaz de colaborar para o êxito expressivo desse novo cinema, tanto no trabalho de produção quanto na avaliação crítica. Para tanto o estudo empreende uma investigação do desenvolvimento da arte desde sua origem a fim de situar, seja na arte fixa ou na arte móvel, o lugar da forma realista e verificar as exigências formais que transformam uma imagem de alto nível icônico em obra de arte / Abstract: The research aims to formulate an aesthetic theory for the hyperrealist animated film. After completing half a century, computer graphics has finally reached a technology stage in which the artist has powerful and flexible tools to finally face the challenge of creating films with realistic synthetic images absolutely convincing. It must be, however, the need for aesthetic reasons to provide artistic support able to contribute to the expressive success of this new cinema, both in production work and in critical evaluation. For that, the study undertakes an investigation of the development of art from its origin in order to place, whether in still art or moving one, the place of realistic form and check the formal requirements that make a high-level iconic picture into the work of art / Doutorado / Multimeios / Doutor em Multimeios

Orientador: Liliana Rolfsen Petrilli Segnini / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-21T01:59:00Z (GMT). No. of bitstreams: 1 Almeida_RicardoNormanhaRibeirode_M.pdf: 2205109 bytes, checksum: 82cdddd9b98f6b2cff6102dba08a84ce (MD5) Previous issue date: 2012 / Resumo: O objetivo central deste trabalho é analisar a relação entre o modo de produção cinematográfica do ciclo Boca do Lixo, em São Paulo, e as condições e relações de trabalho dos profissionais envolvidos nestas produções. O ciclo Boca do Lixo se desenvolve por volta das décadas de 1970 e 1980 e caracteriza-se por algumas especificidades em seu esquema de produção, a começar pela ausência de financiamento estatal e pela parceria estabelecida entre produtores e exibidores. Concentrados nas imediações da Rua do Triunfo, no bairro da Luz em São Paulo, produtores de cinema associam-se aos exibidores interessados no cumprimento da cota de tela estabelecida pelo Estado militar que impingiu, inclusive na produção cinematográfica, um regime autoritário. Este é o cenário para a consolidação de uma indústria de cinema precária, porém eficiente no que tange produtividade e rentabilidade. Neste ambiente as relações de trabalho assumem características igualmente precárias e instáveis. A divisão sexual do trabalho e as relações sociais de sexo também constituem um foco de análise desta pesquisa. / Abstract: This work aims, as its main goal, to analyze the relationship between movies' production inside the so called Boca do Lixo cinematography, in São Paulo, and its labor conditions. Boca do Lixo cinematography was created in the 1970s and the 1980s and had some specificities as, for example, the partnership between its productions and movie theaters and no official funds. That movie circuit, which was based near Triunfo Street at Luz neighborhood, had to follow authoritarian Brazilian State's filming rules and fixed exhibition quotas. On this plot the development of a kind of shabby, but profuse and successfully commercial movie industry, was accompanied by substandard, unstable labor conditions. Sexual working divisions and their relationships will be emphasized in this study as well. / Mestrado / Ciencias Sociais na Educação / Mestre em Educação

[pt] O propósito deste trabalho consiste na análise da imagem cinematográfica da cidade do Rio de Janeiro em dois momentos: o início do século XX, por sua relevância política a partir da consolidação do projeto republicano para a cidade, e hoje, pinçando imagens do cinema contemporâneo, como contraponto e avaliação dos sonhos contidos no desejo republicano. Para o início do século XX, foram selecionados filmes realizados nas décadas 10 e 20, pesquisados nas cinematecas do Museu de Arte Moderna do Rio de Janeiro, do CTAV - Centro Técnico de Audiovisual/Funarte e também na Cinemateca Brasileira de São Paulo. A imagem cinematográfica da cidade do final do século XX é analisada nos filmes: Ônibus 174 (2002), de José Padilha; Estorvo (2000), de Ruy Guerra e Edifício Master (2002), de Eduardo Coutinho. / [en] This paper aims at analyzing the cinematography image of the city of Rio de Janeiro in two moments: the 20th Century, for its political relevance as a consequence of the republican project for the city, and nowadays, reflecting upon current cinematography images that are significant for the carioca metropolis, as a counterpoint and assessment of the dreams contained in the republican desire. For the early 20th Century, films shot in the 10´s and 20´s have been selected from research conducted in the films libraries of the Modern Art Museum of Rio de Janeiro (MAM) and of the CTAV - Audiovisual Technical Center of Funarte (National Foundation for the Arts), and at the Brazilian Film Library of São Paulo (Cinemateca Brasileira de São Paulo). The end of the century city image is analyzed in the following films: Ônibus 174 (2002), by José Padilha, Estorvo (2000), by Ruy Guerra e Edificio Master (2002), by Eduardo Coutinho.

As a universal element of human nature, the experience, expression, and perception of emotions permeate our daily lives. Many emotions are thought to be basic and common to all humanity, irrespective of social or cultural background. Of these emotions, the corresponding facial expressions of a select few are known to be truly universal, in that they can be identified by most observers without the need for training. Facial expressions of emotion are subsequently used as a method of communication, whether through close face-to-face contact, or the use of emoticons online and in mobile texting. Facial expressions are fundamental to acting for stage and screen, and to animation for film and computer games. Expressions of emotion have been the subject of intense experimentation in psychology and computer science research, both in terms of their naturalistic appearance and the virtual replication of facial movements. From this work much is known about expression universality, anatomy, psychology, and synthesis. Beyond the realm of scientific research, animation practitioners have scrutinised facial expressions and developed an artistic understanding of movement and performance. However, despite the ubiquitous quality of facial expressions in life and research, our understanding of how to produce synthetic, dynamic imitations of emotional expressions which are perceptually valid remains somewhat limited. The research covered in this thesis sought to unite an artistic understanding of expression animation with scientific approaches to facial expression assessment. Acting as both an animation practitioner and as a scientific researcher, the author set out to investigate emotional facial expression dynamics, with the particular aim of identifying spatio-temporal configurations of animated expressions that not only satisfied artistic judgement, but which also stood up to empirical assessment. These configurations became known as emotional expression choreographies. The final work presented in this thesis covers the performative, practice-led research into emotional expression choreography, the results of empirical experimentation (where choreographed animations were assessed by observers), and the findings of qualitative studies (which painted a more detailed picture of the potential context of choreographed expressions). The holistic evaluation of expression animation from these three epistemological perspectives indicated that emotional expressions can indeed be choreographed in order to create refined performances which have empirically measurable effects on observers, and which may be contextualised by the phenomenological interpretations of both student animators and general audiences.

Diploma thesis "Structural and contentual transformation of Czech and Polish magazines focused on film and cinematography after 1989" focuses deals with character of the change of magazines focused on film and cinematography after the breaking year 1989. The thesis is searching for these changes in Polish and Czech background and their similarties or differences. It follows the structure and thematic content of these magazines connected with the transformation of social-political and media background.

La compagnie Technicolor est née en novembre 1915 et vientde fêter ses cent ans d’existence. Le procédé de reproductionnaturelle de couleurs Technicolor fut d’abord un procédébichrome, qui connut trois évolutions, avant de devenir un procédétrichrome, autrement désigné procédé n° 4.Le procédé trichrome était techniquement révolutionnairepuisqu’il nécessitait l’utilisation d’une caméra à trois négatifsséparant les trois couleurs primaires rouge, vert, bleu. Latechnique de tirage par imbibition a aussi permis de créer descopies aux qualités intrinsèques équivalentes à celles deslithographies et dont les couleurs ne se modifient pas avec letemps. L’équipement complexe nécessaire aux tournages enTechnicolor a exigé de nouveaux protocoles de travail, ainsi que laformation des équipes des plateaux habituées au noir et blanc.Technicolor a également proposé les services du color consultingafin d’aider à mieux contrôler le rendu des couleurs à l’écran.Cette thèse se propose d’aborder les dimensions historique ettechnique du Technicolor trichrome et d’interroger les techniquesutilisées jusqu’à aujourd’hui afin de restaurer les films tournésavec ce procédé. En raison de l’obsolescence des outils quipermettaient de produire un film en Technicolor, des questions seposent aujourd’hui sur les procédures de restauration des filmstournés entre 1932 et 1955, à l’ère de la technologie ditetrichrome. Il s’agit de la première étude approfondie, en français,portant sur le procédé Technicolor trichrome, ouvrant sur uneréflexion plus élargie sur l’importance de la restauration descouleurs d’origine d’un film. / The Technicolor Company has celebrated its hundredyears of existence, since it was born in November 1915.Technicolor was, at first, a two-color natural color processthat has been modified three times before becoming a threecolorprocess, also known as the process number four.The three-color process was revolutionary since it impliedthe construction of a three-strip camera, which separated theprimary colors red, blue and green with three negatives. Thelaboratory created also dye transfer printing, a technic thatwas able to create projection prints with visual qualitiesequivalent to lithography. Consequently, the dyes of theTechnicolor prints haven’t fade throughout the years. Inaddition, the three-color equipment included a newworkflow during the film shooting. The crew working onthe film set, used to black and white shooting, had to betrained to work with this medium. Technicolor created aswell the color consulting in order to help the crew tomanage better the color composition.This dissertation is an in depth analysis of the historicaland technical issues of the three-color Technicolor processand interrogates the technical devices that have been used torestore the films. In this way, different questions about theprocedures of restoration of the films, shot between 1932and 1955, are addressed throughout the study. Due to theobsolete status of the three color Technicolor process, thequestion of its reproduction can be problematic. This is thefirst thorough study, written in French, dedicated to thethree-color Technicolor process with an opening to theimportance of restoring the original colors of a film.

The diploma work gives an overview of the development of cinemas with respect to traditional movie theatres and situates it to the present market when meeting some serious problems -- decreasing attendance, commercial multiplex competition and offen insufficient application of marketing knowledges. The work tries to find an answer of the question if the classical movie theatres are convicted to termination. To sort out the task it uses marketing tools with respect of the specific cinema's environment, analyzing recent situation and proposes new marketing methods of solution, which could lead to positive changes aiming primarily to increasing of attendance.

The aim of this thesis is to map and subsequently analyse and evaluate all the processes that are going on in the Ponrepo cinema. Even though it is an archive cinema it is currently participating in more complex and broader activities than just film screenings. Therefore, this thesis deals with the processes associated with traditional function as an intermediary of collections of the National Film Archive to the public and the processes associated with the new mission as a creative centre or platform for film education.

The aim of this work is to describe history of audio-visual technology and to analyse the influence of digitalization. The text describes the history of cinematography, television and also the introduction of audio-visual technology to people's homes. It contains information on present situation as well as new trends and the influence of the Internet on audio-visual making. There is a comparison of past and present technologies. The new technologies are accessible even for amateur creators which helps them to open new possibilities. This work is also focused on the influence of audio-visual technologies on the final look of the film. In practical part of this paper, author recommends specific technology suitable for certain target groups accordingly to their budget.

The aim of this work is a statistical analysis of expenditures of households on culture, description of current economical situation in the field of cinematography, characteristics of a cinemagoer and a projection of future developmental tendencies of cinemas. The first two chapters are dedicated to a description of the current state of the Czech cinematography and information about the evolution of the Czech film production. The third theoretical part describes basic statistical methods used in the practical part of this work. The fourth part is focused on a film viewer -cinemagoer using MML-TGI method and it also includes analysis of the dependence of expenditures of households for culture on the cinema ticket price. The fifth part is dedicated to a projection of the future development of the attendance and receipts of cinemas. The final chapter deals with the state of European cinematography.