Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-10-11T15:12:32Z No. of bitstreams: 1 carloseduardomendesdearaujocouto.pdf: 3542859 bytes, checksum: aebdebd5344f8d870b3cdc89d436ec83 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-10-16T14:08:14Z (GMT) No. of bitstreams: 1 carloseduardomendesdearaujocouto.pdf: 3542859 bytes, checksum: aebdebd5344f8d870b3cdc89d436ec83 (MD5) / Made available in DSpace on 2018-10-16T14:08:14Z (GMT). No. of bitstreams: 1 carloseduardomendesdearaujocouto.pdf: 3542859 bytes, checksum: aebdebd5344f8d870b3cdc89d436ec83 (MD5) Previous issue date: 2018-07-09 / O cinema brasileiro contemporâneo apresenta três aspectos relevantes. Um deles é a presença da Globo Filmes, associada à diversas produtoras independentes, tornando-se a empresa mais poderosa do setor. Outro, a utilização das tecnologias digitais em todos os procedimentos cinematográficos, possibilitando variadas criações visuais. O terceiro aspecto diz respeito às comédias com a marca Globo Filmes, dominando o mercado cinematográfico nacional. A partir desse contexto, a pesquisa busca, em um primeiro momento, tratar do atual mercado brasileiro de pós-produção digital, analisar teoricamente o processo de color grading e compreender a função do colorista na criação da estilística visual dessas comédias. Em um segundo momento, apresentaremos as formas de utilização dos estilos cromáticos das comédias da Globo Filmes no atual cinema brasileiro. Como estudos de caso, analisaremos três recentes obras desse gênero: Se Eu Fosse Você 2 (Daniel Filho, 2009), Qualquer Gato Vira-Lata (Tomas Portella, 2011) e Até que a Sorte nos Separe (Roberto Santucci, 2012). / Contemporary Brazilian cinema presents three relevant aspects. One of them is the presence of Globo Filmes, associated to several independent filming companies, making it the most powerful company in the sector. Another point is the use of digital technologies in all of the cinematographic procedures, allowing a variety of visual creations. The third aspect concerns the dominance of the comedies with the brand Globo Filmes over the national film market. From this context, this study seeks, initially, to deal with the current Brazilian digital post-production market so as to theoretically analyze the process of color grading and understand the function of the colorist in the creation of the visual style of these comedies. Follwoing, the ways of using the chromatic styles of the comedies of Globo Filmes in the current Brazilian cinema are presented. As a case study, three recent works of this genre are analyzed: "Se Eu Fosse Você 2"(Daniel Filho, 2009), "Qualquer Gato Vira-Lata" (Tomas Portella, 2011) and "Até que a Sorte nos Separe" (Roberto Santucci, 2012).

No description available.

In this thesis, the concept of style transfer for visual storytelling is introduced. Style transfer for visual storytelling is the process of identifying a definitive style of a source, such as an artist or culture, and applying the features of that style to a target, such as a character which has a different style. As a proof of concept, the style of the American film director Tim Burton is transferred to a character from Hindu mythology, Yamah. The style transfer is done based on the concept of 'Pattern Language' introduced by Christopher Alexander et al., in his book, 'A Pattern Language'. A set of patterns is developed based on the source and target. The target is then designed based on the patterns. The design is then visualized in a suitable medium.

For whom do we draw buildings? Why does contemporary architecture look the way it does?Why are certain aesthetics considered more valid than others? With this project, I propose Dirty Geometry: norm-bending design that could challenge conventions within the field of architecture. It is an investigation of concepts such as ugliness, beauty, architecture and the human body, interiority, femininity and ”bad taste”. The purpose is to, with the aid of parametric design processes, make Stockholm less boring and more dirty. Dirty Geometry is both the creative process sprung from one’s personal desires, and the resulting design. It aims to celebrate the weird, playful and colorful in an empowering way. This thesis project draws a lot of inspiration from camp aesthetics and drag culture, because of the way humour is used in a subversive way to question gender identities, power structures and norms.