Cette thèse se propose d’analyser la politique culturelle chilienne à partir des programmes proposés par le Conseil National de la Culture et des Arts (CNCA) destinés à favoriser l’accès des citoyens à la culture et le développement des pratiques culturelles de ceux-ci. L’accent est mis sur le rôle de la médiation culturelle dans ce processus, principalement dans les zones d’habitat les plus défavorisées du pays.Le thème de l’accès constitue, dès lors, le coeur de la problématique. Il permet d’étudier deux stratégies complémentaires du CNCA, d’une part, la volonté d’imposer un type d’art spécifique aux citoyens et, d’autre part, l’objectif de permettre le développement optimal de chaque communauté en diversifiant l’offre pour favoriser l’intensité des pratiques artistiques. Ainsi, le CNCA propose des outils mais les agents de médiation s’en emparent et leurs orientations politiques et idéologiques apparaissent telles des éléments déterminants.Cette recherche qualitative repose principalement sur des entretiens réalisés auprès d’agents de médiation, de spécialistes du domaine de la culture et des responsables des programmes du CNCA. Elle cherche à contribuer à une meilleure compréhension des processus de médiation, qu’il s’agisse des enjeux pour la communauté, en particulier du type de liens qui s’établissent avec les habitants des quartiers où ils sont mis en oeuvre, que des dispositifs sur lesquels l’Etat s’appuie. La recherche vise également à mettre en évidence le rôle que peut jouer la médiation dans la réduction des inégalités d’accès. Notre analyse se focalise ainsi plus particulièrement sur les agents de médiation et leur rôle dans l’identification et la résolution des tensions qui apparaissant entre les objectifs de ces programmes et les attentes de leurs participants en matière de pratiques culturelles et artistiques. Nous étudions aussi les formes de subjectivisation que ces derniers expérimentent.Les transformations que les programmes sont susceptibles de générer au sein des communautés font également l’objet d’une attention particulière afin d’identifier les principaux problèmes que soulève l’action de l’Etat lorsque celle-ci vise à générer des voies d’accès diversifiées à la culture afin de promouvoir une identité culturelle respectueuse de la culture spécifique de chaque groupe de population. / This thesis aims to analyze the Chilean cultural policy through the programs offered by the National Council of Culture and Arts (CNCA) to promote access for the citizens to culture and the development of cultural practices. The focus is put on the role that the cultural mediation has in this process, mainly in underprivileged sectors of society.The issue of access is, therefore, the heart of the problem in this area. It addresses two complementary strategies of the CNCA, on one hand, the intention to impose a specific type of art (high culture) toward citizenship, and on the other, the culture development of each community by means of diversifying culture offer and supporting artistic practices. Thus, the CNCA provides tools, but the success in these implementation by mediation agents depend of their political and ideological orientations not always in line with CNCA guidelines.This qualitative research is based mainly on interviews with mediation agents, subject experts and programs managers of CNCA. It seeks to contribute to a better understanding of the mediation process and especially the links established in the community where they are immersed. The research also aims to highlight the potential role of mediation in reducing inequalities of access. Our analysis has revealed the role of mediation agents in identifying and resolving tensions arising between the objectives of these programs and the expectations of their participants in cultural and artistic practices. We also study forms of subjectivation that they are experimenting.The transformations that the programs may achieve on the communities, are also a point of special attention to identify the main problems raised by the performance of the State when it seeks to generate diverse routes of access to culture to promote a respectful cultural identity about the specific culture of each population group.

Políticas culturais são pensadas e implementadas de maneiras consideravelmente distintas no atual cenário mundial. No Brasil, diversas foram as fases e tendências assumidas pelo governo, mas, em geral, o mecanismo de incentivo fiscal, desde meados da década de 80, assume papel de protagonismo no que diz respeito ao financiamento de cultura. Nesse contexto, o atual trabalho buscou conhecer quem são algumas das pessoas responsáveis por gerir, na área cultural, recursos públicos advindos prioritariamente das leis de incentivo fiscal e identificar a percepção de tais profissionais quanto a sua aptidão para realizar essa função. Para coleta de dados, foram realizadas entrevistas com profissionais da área, as quais se conduziram com base em um roteiro de questões que buscou verificar conhecimentos, práticas, opiniões e representações sociais acerca da gestão de atividades culturais. Os dados qualitativos obtidos foram analisados por meio do Discurso do Sujeito Coletivo (DSC). Em tal metodologia, elementos com sentidos semelhantes são processados sob a forma de discursos únicos, redigidos na primeira pessoa do singular. Os gestores e as gestoras demonstraram, em sua maioria, enfrentar dificuldades para realizar algumas das tarefas que desempenham e, geralmente sem formação específica na área, falam sobre empirismo e contratação de empresas para assessoramento e segurança. Quando buscam se especializar para não mais depender de intermediação, encontram, majoritariamente, cursos descontinuados e de curta duração - normalmente pagos e oferecidos em capitais estaduais. / Cultural policies nowadays are designed and implemented based on different perspectives. In Brazil, government has assumed several phases and trends, but in general tax incentive takes leading role with regard to the financing of culture since the mid-80. In this context, the present study aimed to identify some people responsible for managing public resources in the cultural area and to identify the perception of such professionals about their ability to perform this function. For data collection, cultural managers were interviewed. The intention was to verify knowledge, practices, beliefs and social representations of cultural management. The method used to analyze qualitative data obtained was the Discourse of the collective subject (DCS). So, elements with similar senses were processed into single speeches, written in the first person singular. It was noted that sometimes, managers are struggling to play their role and, generally without specific training in the area, they talk about empiricism and hiring companies for advice and security. When seeking specialization, they found, mostly, discontinued and short courses - usually paid and offered in main cities.

Esta pesquisa trata dos modos de conhecer entre os Paiter e suas transformações, buscando revelar os seus pressupostos e procedimentos concretos, especialmente à luz da emergência de políticas culturais. Estas têm propiciado um movimento criativo intenso ao valer-se do poder reflexivo e recursivo de cultura, num entrecruzar dinâmico entre os regimes de conhecimento euro-americano e ameríndios. Nesse movimento, investigo especificamente experiências nativas ligadas à normatização da língua e seu ensino nas escolas das aldeias, projetos de patrimonialização da cultura, incluindo iniciativas recentes de registro e salvaguarda de narrativas orais e cantos, bem como museus-escola. Percorro assim um panorama que, embora restrito, já permite ilustrar como o pressuposto e discurso da perda cultural, subsumidos no conceito ocidental de política cultural, são insatisfatórios para dar conta da natureza das transformações em curso e dos experimentos interpretativos recentes dos próprios Paiter para manejar práticas e relações de conhecimento. A aposta é que as dimensões do espaço-tempo e movimento, do corpo e suas relações, e do sopro (a voz e a língua), oferecem um enquadramento que nos permite revelar alguns pressupostos de existência e princípios epistemológicos paiter. A principal lição dessa abordagem é que os saberes paiter só se dão em relação (a outros saberes) e em relações (entre as pessoas, coletivos e seres que sabem ou que buscam saber). Essa dupla dimensão relacional nos leva a reconhecer que os saberes estão sempre alhures e são, essencialmente, fruto desses encontros. Isso reforça a importância, nesse campo tanto intelectual quanto de ação, de privilegiar os processos e os modos de conhecer como caminho para melhor compreender os principais desafios contemporâneos da busca por ser quem se é, manifesta de forma tão pungente por meus interlocutores. / This research deals with the ways of knowing among the Paiter and their transformations, seeking to reveal their concrete presuppositions and procedures, especially in light of the emergence of cultural policies. These have provided an intense and creative movement by relying on the reflexive and recursive power of culture, in a dynamic interweaving between Euro-American and Amerindian knowledge systems. In this movement, I specifically investigate native experiences linked to the standardization of language and its teaching in village schools, cultural patrimony projects, including recent initiatives to record and safeguard oral narratives and chants, as well as school-museums. I thus cover a panorama which, although restricted, allows us to illustrate how the presupposition and discourse of cultural loss, subsumed in the Western concept of cultural policies, are unsatisfactory to account for the nature of the ongoing transformations and the recent interpretative experiments of the Paiter themselves to manage knowledge practices and relations. The bet is that the dimensions of space-time and movement, of the body and its relations, and of the breath (the voice and the language), offer a framework that allows us to reveal some paiter presuppositions of existence and epistemological principles. The main lesson of this approach is that paiter knowledge can only exist in relation (to other knowledges) and in relationships (between people, collectives and beings who know or seek to know). This double relational dimension leads us to recognize that knowledge is always elsewhere and is essentially the result of these encounters. This reinforces the importance, in this field, both intellectually and in action, of privileging processes and ways of knowing as a means to better understand the main contemporary challenges of the quest to be who one is, manifested in such a poignant way by my interlocutors.

Para se compreender a organização do trabalho artístico há que se levar em conta seus aspectos institucionais. As formas que as organizações artísticas tomam estão diretamente relacionadas ao desenvolvimento desses campos de produção em artes. Nessa dissertação, tomo como objeto de interesse o campo da produção teatral paulistana conhecido como Teatro de Grupo. Argumento que a aprovação da Lei de Fomento ao Teatro para a cidade de São Paulo em 2002 foi um importante ponto de inflexão na construção desse campo. Para explorar de que modo a lei permanece como um dos mecanismos centrais da organização dessa parcela da produção artística, foram coletados, por meio de pesquisa de campo e análise documental, dados e informações sobre os grupos que concorreram a essa verba de financiamento. Ao descrever os elementos que constituem esse campo de produção torna-se possível elucidar aspectos específicos da experiência de trabalho artístico dos indivíduos que compõem esses grupos teatrais da cidade. / Institutional features must be taken into account in order to understand the organization of artistic labor. The shapes artistic organizations might take are closely related to the development of the artistic fields of production they pertain. This thesis focuses on a field of theatre production in São Paulo known as Teatro de grupo. I argue that the approval of a law called Lei de Fomento ao Teatro para a cidade de São Paulo in 2002 was a turning point towards this fields construction. Aiming to explore the ways by which this law continues to be one of the core mechanisms of this particular part of the artistic production, I gathered data on theater groups in the city through documental research and field work. Describing he elements that constitute this specific field elucidates the aspects of the labor experience of the artists who are part of these groups.

<p>Syftet är att granska relationen mellan konstnären och marknaden. Flertalet frågor behandlas, såsom om konsten och konstnärer står inför ett paradigmskifte, varför det är fult att säga konst och pengar i samma mening och vad verksamma konstnärer tycker om situationen.</p><p>Uppsatsen redogör för begreppet konstnär ur ett historisk och sociologiskt perspektiv. Förutsättningar för konstnären gås igenom med fokus på kulturpolitiken från 1974 tills idag, och marknaden. Fyra konstnärer har intervjuats för att skapa en bild av den realiteten som de verkar i, hur de ser på konstnärskapet och den bästa av världar.</p> / <p>The purpose is to study the relationship between the artist and the market. Several questions are dealt with, such as does art and artists stand before a paradigm shift, why's it a bad thing to mention art and money together and what do the working artist think about the situation.</p><p>The thesis deals with concept of the artist from a historical and sociological point of view. Preconditions for artists are clarified with a focus on cultural policies from 1974 and onwards. Four artists have been interviewed to create a picture of the working reality, what they think about their artistry and what the best of worlds look like.</p>

Syftet är att granska relationen mellan konstnären och marknaden. Flertalet frågor behandlas, såsom om konsten och konstnärer står inför ett paradigmskifte, varför det är fult att säga konst och pengar i samma mening och vad verksamma konstnärer tycker om situationen. Uppsatsen redogör för begreppet konstnär ur ett historisk och sociologiskt perspektiv. Förutsättningar för konstnären gås igenom med fokus på kulturpolitiken från 1974 tills idag, och marknaden. Fyra konstnärer har intervjuats för att skapa en bild av den realiteten som de verkar i, hur de ser på konstnärskapet och den bästa av världar. / The purpose is to study the relationship between the artist and the market. Several questions are dealt with, such as does art and artists stand before a paradigm shift, why's it a bad thing to mention art and money together and what do the working artist think about the situation. The thesis deals with concept of the artist from a historical and sociological point of view. Preconditions for artists are clarified with a focus on cultural policies from 1974 and onwards. Four artists have been interviewed to create a picture of the working reality, what they think about their artistry and what the best of worlds look like.

Depuis 1980, les villes ont commencé à questionner leur position et leur rôle dans le système mondial avec la croissance de la compétition entre les villes mondiales ainsi que leurs relations intra-muros. La combinaison des politiques de régénération urbaine et culturelle est devenue l'un des outils de transformation important qui expose des changements socio-économique dans l'espace urbain et renouvelle ou/et constitue l'image de la ville. Ainsi la différenciation des stratégies d'application de ces politiques apparaît aussi très profondément dans le positionnement des acteurs lors du processus décisionnel. La régénération urbaine, le mot magique depuis les années 2000, est devenu l'un des principaux outils sur lequel les acteurs s'appuient pour transformer Istanbul. Ainsi, la Corne d'Or est un quartier où nous voyons comment les politiques culturelles et de régénération urbaine se combinent dans l'espace urbain et comment le processus de régénération se différencie en fonction des points de rupture du positionnement des acteurs publics et privés. Nos analyses montrent, dans un premier temps, que les expériences de la régénération urbaine liée à la culture comportent des similitudes par rapports aux autres expériences internationales mais qu'elles demeurent néanmoins différentes à cause du positionnement des acteurs dans le processus décisionnel. Dans un second temps, ils expliquent comment la culture a été intégrée dans l'image d'Istanbul par l'intermédiaire des plans d'urbanisme alors que les projets de régénération nourrit par cette vision restent isolés dans l'espace urbain qui amènent donc une déconnexion socio-économique. / As of 1980s, cities begun to question their position and role in the global system with growing competition among global cities and their intramural relationships. In this context, the combination of urban regeneration and cultural policies has become one of the major processing tools that exposes the socio-economic changes in urban space and renews and/or creates an image of the city, Furthermore, the positioning of public and private actors in the decision making process is one of the important issues which differentiates projects, their socio-economic effects and the degree of integration of the projects in the transformation process. Urban regeneration, the magic word in the 2000s, became one of the main tools that public actors rely on in order to transform Istanbul. The Golden Horn is one of the important areas where we see how cultural policies and urban regeneration combine in urban areas and the regeneration process differs based on breaking points that depend on the position of public and private actors. First, this thesis shows that experiences of culture-led urban regeneration of Istanbul and Golden Horn have similarities to international experience, however we also note that they differentiate significantly at certain points because of the positioning of the actors in the decision-making process, disconnection and discontinuity of overall vision of public actors Second, the analysis explains how culture has been integrated into the image of Istanbul through urban regeneration projects developed by this vision although these projects are isolated in urban space that brings a socio-economic disconnection.

Cette thèse porte sur comment les publics de théâtre sont représentés au sein du discours des politiques culturelles tant en France qu’au Chili. Ceci est mis en rapport aux figures des publics destinataires des sites internet (y compris les réseaux sociaux numériques) de quatre théâtres publics de référence qui déclarent avoir une programmation dite « contemporaine » et « classique ». La question principale est d’identifier comment ces représentations circulent dans ces dispositifs. L’hypothèse centrale souligne le fait qu’il y a un rapport entre les conditions sociales et symboliques des discours des politiques culturelles qui s’actualisent dans les écris d’écran (Bonaccorsi, 2013) par des signes langagiers, visuels et numériques. L’approche théorique et méthodologique est principalement sémiodiscursive toujours à l’égard des nouvelles catégories émergentes des nouveaux corpus provenant d’internet (Rouquette, 2009). Cette recherche a permis de conclure que les politiques culturelles des deux pays tiennent un discours sur l’accès pour « tous » à la culture, « tous » étant, d’une part, la figure d’un « public plus citoyen » et d’autre part la figure d’un « public plus consommateur ». D’ailleurs les sites internet compris dans l’étude, même s’ils partagent une scène englobante et générique, actualisent (par des signes langagiers, visuels et numériques) différemment leur scénographie (Maingueneau, 2013) en fonction de l’éthos (Charaudeau, 2009) de chaque théâtre. Pourtant, les figures d’un « public national » et « potentiel acheteur » circulent comme traces des discours des politiques culturelles parmi les sites et au sein de réseaux sociaux où en plus, on observe une prise de parole profane (Pasquier, 2009), c’est-à-dire, des spectateurs. / The subject of this thesis concerns how the audience of theatre is represented within the discourse of cultural policies in France and Chile. This is related to the audience of internet websites (including social networks) of four public theatres of reference who report to have both a « contemporary » and « classical » program. The main question is to identify how these representations are transmitted amongst these devices. The principal hypothesis underlines the fact that there is link a between the social and symbolic conditions of the discourses of cultural policies which appear in « les écrits d’écran » (Bonaccorsi, 2013) through linguistic, visual and digital signs. The theoretical and methodological approach is primarily semiotic-discursive with regard to new categories emerging from Internet-based corpus (Rouquette, 2009).This research led to the conclusion that the cultural policies of these two countries have a discourse on access to culture for « everybody »; « everybody » being, on one hand, a « more citizenly audience » and, on the other hand, a « more consumer audience ». Moreover, the internet websites in this study update their scenography differently (through linguistic, visual and digital signs), even if they share a generic and global scene (Maingueneau, 2013), all of which is dependent on the ethos (Charaudeau, 2009) of each theatre. However, the « national audience » and the « potential buyer » appear as traces of the discourses of cultural policies among websites and social networks where, we can additionally observe a profane speech (Pasquier, 2009), namely, from the audience.

Ao revisitar a história da política publica de cultura do país vemos que passamos da perspectiva da tutela, da valorização do artista, do fomento reduzido ao entendimento de cultura como expressão das artes eruditas e chegamos até o mercado como definidor dos valores e linguagens culturais a partir do interesse privado de associação de suas marcas. Sabe-se que, a esquerda brasileira, expressa aqui na política do Partido dos Trabalhadores trouxe novos conceitos no campo das políticas públicas culturais, ampliando o conceito de cultura e traduzindo em ações culturais a perspectiva da democratização e da cidadania cultural. As reflexões atuais do impacto dos processos da globalização no campo cultura, que movimenta debates internacionais e políticas de respeitabilidade entre as nações, provoca questões sobre assimilação, hibridismo, interculturalidade, entre outros. As questões de identidade no mundo pós-moderno faz com que o debate em torno dos processos culturais se torne fundamental, e as relações entre o global e o local, mobiliza gestores e movimentos sociais da área cultural, na implementação de novas ações. Estas, que são pautadas em prol da democracia e da diversidade, não devem se reduzir na perspectiva deles, ao acesso a criação e a produção cultural, mas também acreditam ser estas novas ações um contraponto ao processo de globalização, tornando este processo menos homogeneizante e mais plural e diverso. Esta tese tem como proposta contribuir para novas reflexões no campo das políticas públicas de cultura, ampliando a discussão a partir da implementação do Programa Nacional Cultura Viva e das experiências estéticas vividas em ações culturais dos Pontos de Cultura pelos Agentes Cultura Viva. Identidades Inventivas – Territorialidades nas redes dos Pontos de Cultura na Região Sul, foi construída na relação entre diversos autores. Entre eles Milton Santos, Paulo Freire, Harvey, Canclini, Bauman, Foucault, Arendt e Dewey. E a voz dos adolescentes entrevistados apontam que, para além da potência de expressão simbólica e artística vividas nas ações culturais, a possibilidade de ações culturais engajadas na relação junto à vida comunitária, são potência do exercício e do desejo do bem comum. / The historical analysis of public policies towards culture in Brazil reveals the country has gone through a process of change in which the perspective of custody, the appreciation of the artist, the reduced fostering to the understanding of culture as an expression of the fine arts were replaced by the notion of the market as a definer of cultural values and languages, as a consequence of the private interest of associating their brands. It is known that the Brazilian left, represented here by the policies of the Labor Party, has brought new ideas into the field of public cultural policies, expanding the concept of culture and translating the perspective of democracy and cultural citizenship into cultural actions. The impact of globalization processes on the cultural field, which now moves international debates and respectability policies among the nations, raises questions about assimilation, hybridism and intercultural relations, among others. The issue of identity in the postmodern world renders the debate on cultural processes a crucial role, and the relationship between the global and local spheres stimulates managers and social movements in the cultural field to implement new actions. These actions, which aim at fostering democracy and diversity, should not be reduced to the access to cultural creation and production, but also be a counterpoint to globalization, making this process less homogenizing and more pluralistic and diverse. This thesis aims at contributing to new insights in the field of public cultural policies by analyzing the implementation of the National Program of Living Culture and the aesthetic experiences experienced by the Living Culture Agents in cultural activities promoted by the Culture Points. Invented Identities - Territoriality in the Networks of Southern Culture Points was based on the relationship between many authors, such as Milton Santos, Paulo Freire, Harvey, Canclini, Bauman, Foucault, Arendt and Dewey. The reports of the youngsters interviewed point out that, beyond the symbolic and artistic expression experienced in the cultural activities, the possibility of cultural actions engaged with community life are the power of exercise and of the desire of the common good.

Este estudo verificou e analisou os interesses em jogo no campo do Cineclubismo Brasileiro no período de rearticulação do movimento cineclubista. Esta rearticulação ocorreu entre agosto de 2003 e dezembro de 2004. Em 2003, iniciou-se no país o processo de repensar às Políticas do Audiovisual, com a reestruturação do Ministério da Cultura e a criação da Secretaria do Audiovisual (SAV). Esta Secretaria representou uma nova perspectiva para o Cineclubismo. Em 21 de agosto, o chefe de gabinete da SAV Leopoldo Nunes organizou uma reunião com remanescentes do Conselho Nacional de Cineclubes (CNC), representando uma inflexão de posição do Estado – do conflito à parceria. A criação do CNC ocorreu em 1961. Esta instituição se tornou a referência coletiva do movimento até 1989, quando se desarticulou pelos treze anos seguintes. Até dezembro de 2004, aconteceram uma Pré-Jornada e duas Jornadas Nacionais de Cineclubes (24ª e 25ª), quando a primeira diretoria do CNC no século XXI se elege. As noções teórico-metodológicas de Pierre Bourdieu foram a base para este trabalho. A partir delas, identificaram-se os agentes eficientes e as posições deles, a distribuição de capitais, as estratégias e o habitus coletivo no campo do Cineclubismo no período de rearticulação. Também apoiaram este estudo as noções de Cultura, Indústria Cultural, Cinema, Identidade, Diversidade Cultural, Cineclubismo e Política Cultural. Os paradigmas de pesquisa e os métodos de coleta, análise, interpretação e representações materiais empíricas utilizados foram os de Bourdieu, considerando que não há separação entre teoria e prática para este autor. A identificação das posições dos agentes e as relações entre elas permitiu a constatação da estrutura do campo no período analisado, por intermédio de procedimento comparativo entre o que ele foi e o que se tornou. Realizou-se também a caracterização pelas regras da arte de Bourdieu: a emergência do campo com a criação do CNC, a estrutura dualista em torno da base de representação do movimento – cineclubistas ou cineclubes – e o mercado de bens simbólicos de acesso aos filmes. Neste campo, os agentes mais eficientes no período de rearticulação foram Leopoldo Nunes, Antonio Claudino dos Santos, Felipe Macedo, Diogo Gomes dos Santos, Luiz Alberto Cassol, Débora Butruce, Luiz Orlando da Silva, Hermano de Figueiredo Mendes, Antenor Gentil Júnior e João Baptista Pimentel Neto. O capital preponderante entre os agentes foi o social, salientando-se as relações político-partidárias. A principal estratégia dos agentes foi de enfoque eleitoral, voltada à disputa pelo poder no CNC. Compreendeu-se que faz parte do habitus cineclubista o desejo de um conhecimento maior a respeito do Cinema para compartilhar com outras pessoas, formando e educando. No campo, esse habitus se manifestou na forma de uma causa pelos direitos de ver Cinema (todo tipo, o que não chega às telas ou não a todos e o Cinema Brasileiro). Concluiu-se que os interesses em jogo neste campo e neste período se relacionam com o exercício do poder e a disputa pela autoridade e legitimidade na definição de conceitos, com o objetivo de garantir as posições de domínio no campo. / This study investigated and analyzed the issues at stake in the field of Brazilian Film Society in the period of re-articulation of the film society movement. This re-articulation occurred between August 2003 and December 2004. In 2003, the country began the process of rethinking the Audiovisual Policy, with the restructuring of the Ministry of Culture and the creation of the Audiovisual Secretariat. This Secretariat represented a new perspective to the Film Society. On August 21, the SAV chief of staff of the Audiovisual Secretariat Leopoldo Nunes arranged a meeting with remnants of the National Council of Film Societies, representing a shift of position of the state – from conflict to partnership. The creation of National Council of Film Societies occurred in 1961. This institution became the collective reference of the movement until 1989, when it dismantled by the next thirteen years. Until December 2004 there were one Pre-Journey and two National Journeys of Film Societies (24th and 25th), when the first board of the National Council of Film Societies in the XXI century is elected. The theoretical and methodological concepts of Pierre Bourdieu were the basis for this work. From these, it was identified the effective agents and their positions, the distribution of capital, strategies and collective habitus in the field of Brazilian Film Society in the period of re-articulation. This study was also supported notions of Culture, Cultural Industry, Film, Identity, Cultural Diversity, Cultural Policy and Film Society Studies. The research paradigms and methods of collection, analysis, interpretation and empirical material representations used were those of Bourdieu, considering that there is no separation between theory and practice for this author. The identification of the positions of agents and relations between them led to confirmation of the structure of the field in the period analyzed through comparative procedure between what was and what he became. The characterization by the rules of art of the Bourdieu was also performed: the emergence of the field with the creation of the National Council of Film Societies, the dualistic structure around the base of representation of movement - members of film societies or film clubs - and the market of symbolic goods access to movies. In this field, the most effective agents in the period of rearticulation were Leopoldo Nunes, Antonio Claudino dos Santos, Felipe Macedo, Diogo Gomes dos Santos, Luiz Alberto Cassol, Deborah Butruce, Luiz Orlando da Silva, Hermano de Figueiredo Mendes, Antenor Junior Gentil and João Baptista Pimentel Neto. The major capital among agents was the social, emphasizing the political and party relations. The main strategy of the agents was electoral approach, focused on the struggle for power in the National Council of Film Societies. It was understood that is part of the film society habitus the desire for a greater knowledge of the Cinema to share with others, forming and educating. In the field, this habitus manifested as a cause for the rights to see Cinema (every kind, which does not reach the screens, or not at all, and Brazilian Cinema). It was concluded that the interests at stake in this field and in this period relate to the exercise of power and the struggle for authority and legitimacy in defining concepts, aiming to ensure positions of dominance in the field.