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Throughout much of the twentieth century Walt Disney wielded considerable influence in American culture. By identifying and commercially exploiting a strain of environmental thought that sentimentalized and romanticized nature, Walt Disney influenced the attitudes of millions of Americans concerning how they conceptualized environmental issues. The Walt Disney Company’s nature documentaries and their popularity as both entertainment as well as educational material helped disseminate the virtues of conservation within the American mindset. The Disney interpretation of conservation clashed with other post-war environmental understandings of the ethic, as did the company’s consistently inaccurate representations of nature on film. Disney’s particular strain of environmentalism, based on an Edenic appreciation for nature, the belief that to conserve land it must be developed, and practice of moralizing to humans through anthropomorphized depictions of animal behavior, stood out in contrast to other existing post-war environmental mindsets during the controversy surrounded the proposed construction of a vacation resort in Mineral King, California, following Disney’s death. / History

[ES] Esta investigación aborda las repercusiones del COVID-19 en la comunidad inmigrante china en España, en un contexto de creciente globalización y desafíos socioeconómicos. Se propone la creación de una pieza audiovisual, en formato de ensayo documental integrado en una videoinstalación, como parte integral de este estudio. A medida que el proceso de globalización continúa profundizándose, el número y la movilidad de inmigrantes también ha aumentado y el avance del virus ha provocado una pandemia que ha resultado difícil de controlar, propagándose por todo el mundo, sin haber podido predecir con exactitud su duración, ni su evolución, afectando a diversas áreas de la población, incluidos los migrantes, de formas diversas y complejas. Esta propuesta de investigación plantea la realización de una creación audiovisual que se ha nutrido de la información y los estudios recopilados, incluyendo una serie de entrevistas sobre la inmigración china. / [CA] Aquesta investigació aborda les repercussions de la COVID-19 en la comunitat im migrant xinesa a Espanya, en un context de creixent globalització i reptes socioeco nòmics. Es proposa la creació d'una peça audiovisual, en format d'assaig documental integrat en una videoinstal·lació, com a part integral d'aquest estudi. A mesura que el procés de globalització continua aprofundint-se, el nombre i la mobilitat d'immigrants també han augmentat i l'avanç del virus ha provocat una pandèmia que ha resultat difícil de controlar, propagant-se per tot el món, sense haver pogut predir amb exactitud la seva durada, ni la seva evolució, afectant a diverses àrees de la població, inclosos els immigrants, de formes diverses i complexes. Aquesta proposta de recerca planteja la realització d'una creació audiovisual que s'ha nodrit de la informació i els estudis recopilats, incloent una sèrie d'entrevistes sobre la immigració xinesa. / [EN] This research addresses the repercussions of COVID-19 on the Chinese immigrant community in Spain, in a context of increasing globalization and socioeconomic challenges. The creation of an audiovisual piece, in the format of a documentary essay integrated into a video installation, is proposed as an integral part of this study. As the process of globalization continues to deepen, the number and mobility of immigrants have also increased and the advance of the virus has caused a pandemic that has proved difficult to control, spreading around the world, without being able to accurately predict its duration, nor its evolution, affecting various areas of the population, including migrants, in diverse and complex ways. This research proposal proposes the realization of an audiovisual creation that has been nourished by the information and studies collected, including a series of interviews on Chinese immigration. / Song, Y. (2024). Soy Chin@, no soy un virus: creación audiovisual de carácter documental sobre el impacto del COVID-19 en la inmigración China en España [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/206037

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-10-04T16:56:38Z No. of bitstreams: 1 Felipe Ferreira Neves.pdf: 1237271 bytes, checksum: 038e3355a823c8da51787a098f7fbe61 (MD5) / Made available in DSpace on 2016-10-04T16:56:38Z (GMT). No. of bitstreams: 1 Felipe Ferreira Neves.pdf: 1237271 bytes, checksum: 038e3355a823c8da51787a098f7fbe61 (MD5) Previous issue date: 2016-06-21 / This research critically examines the contemporary brazilian documentaries of the early twenty-first century that used dispositif (apparatus) as performing and narrative strategies. This research’s objective is to investigate how such dispositif participate in the construction of the filmic narrative and what are the meaning effects produced by them. As the research hypothesis, it is considered that films using dispositif are open to chance, allowing events to hapen (événement). The methodological approach included the filmic analysis of the corpus works: Ação e Dispersão (2002) by Cesar Migliorin, Rua de Mão Dupla (2002), by Cao Guimarães and Saudade, vídeo-cartas para Cuba (2005) by Coraci Ruiz, in addition to occasionally examine other works from Cao Guimarães, Eduardo Coutinho, Kiko Goifman, Sandra Kogut and Coraci Ruiz. As a theoretical basis, authors such as Bill Nicholls and Christine Mello are studied among others, like Michel Foucault’s theory device and the Gilles Deleuze’s event theory. The main approach axis is took from the work of Cezar Migliorin which addresses both the concept of film-apparatus and the events logic / A presente pesquisa examina, criticamente, os documentários contemporâneos brasileiros do início do século XXI que se utilizaram de dispositivos como estratégias de realização e de narrativa. O objetivo dessa pesquisa é investigar como tais dispositivos participam da construção da narrativa fílmica e quais são os efeitos de sentido por eles produzidos. Como hipótese de pesquisa, considera-se que os filmes que se utilizam de dispositivo se abrem para o acaso, possibilitando acontecimentos. A abordagem metodológica contou com a análise fílmica das obras do corpus: Ação e Dispersão (2002), de Cesar Migliorin, de Rua de Mão Dupla (2002), de Cao Guimarães e Saudade, vídeo-cartas para Cuba (2005), de Coraci Ruiz, além de examinar pontualmente outros trabalhos de Cao Guimarães, Eduardo Coutinho, Kiko Goifman, Sandra Kogut e Coraci Ruiz. Como fundamentação teórica, utilizou-se os autores Bill Nicholls, Christine Mello, entre outros, bem como a teoria do dispositivo de Michel Foucault e a teoria do acontecimento de Gilles Deleuze. O principal eixo de abordagem se deu a partir da obra de Cezar Migliorin, que aborda tanto o conceito de filme-dispositivo como com a lógica do acontecimento

Cette thèse analyse les processus de politisation et dépolitisation de films documentaires attachés à l'urbain stigmatisé et prend pour objet 42 films tournés dans les quartiers du Centre-ville Basilique à Saint-Denis et de la Joliette à Marseille entre 2000 et 2010. L'enquête s'appuie sur une série d'entretiens semi-directifs auprès des réalisateurs et d'analyses filmiques, ainsi que sur un ensemble de sources afférentes à l'activité promotionnelle ou théorique des réalisateurs. Au croisement des sociologies de l'art, du cinéma, du journalisme et des professionnels engagés, cette thèse vise à dresser les contours d'un espace documentaire en voie d'autonomisation. Elle propose une analyse des trajectoires sociales et professionnelles des documentaristes, des clivages qui le constituent et des collaborations nécessaires à la fabrique et la diffusion des documentaires. Elle est l'occasion de revenir sur nombre de représentations couramment accolées à cette pratique allant du rapport à la politique entendu au sens large, à la place accordée au réalisateur dans le processus de création et à la division entre cinéma et journalisme. En plaçant au centre les logiques de professionnalisation et les relations avec des acteurs, intervenants filmés et publics, étrangers à l'espace documentaire, ce travail reconsidère les conditions d'un engagement politique par et au travers des films. / This thesis analyzes the process of politicization and de-politicization of documentary films that focus on stigmatized urban areas. It is based on 42 films made between 2000 and 2010 in the neighborhoods of Centre-ville Basilique in Saint-Denis and La Joliette in Marseille. This research draws from open-focused interviews with directors and content analysis of the studied films, as well as of other promotional or theoretical productions by the same directors. This thesis aims at understanding the structure and logics of a “documentary world” which is gaining structural autonomy towards other social fields. At the intersection of the sociologies of art, cinema, journalism and politically involved professionals, this study analyses the ambiguous positioning of the filmmakers when it comes to taking a political stand in the light of their social and professional backgrounds, of the professional collaborations that develop around the making and distribution of the films, and of the structural divisions organizing the documentary world. This approach allows us to question several dimensions of documentary film making that are often taken for granted: from the creative power of the director and his/her place in the creative process, to the opposition between cinema and journalism, and the relationship between documentary and politics generally speaking. By placing professionalization mechanisms and the relationships that directors develop with filmed participants and the public at the center of the study, this work sheds new light on the process of political commitment by and through cinematographic productions.

Orientador: Claúdio Bertolli Filho / Resumo: Defende-se a tese de que o documentário se instaura como uma mídia alternativa que dá voz a diferentes atores sociais e constrói espaços de visibilidade e aprofundamento de causas, demandas e problemáticas do contemporâneo que são evidenciadas através dessa representação simbólica. Nessa instância de luta por poder, como se constroem identidades de resistências por meio da narrativa documental audiovisual? São analisadas as representações sociais nos documentários "Lute como uma menina" (2016), "Espero tua (re)volta" (2019) e "Acabou A Paz, Isto Aqui Vai Virar o Chile!" (2016), que ilustram as ocupações secundaristas contra a proposta de reforma do ensino paulista em 2015. Tais levantes possuem como características elementos de uma cultura de protesto semelhantes aos eventos de Junho de 2013 e característicos das insatisfações da sociedade em rede. Metologicamente se recorre à pesquisa bibliográfica e documental, à netnografia e análise fílmica, entrevista em profundidade e análise da percepções de tais obras junto à opinião pública. / Abstract: It defends the thesis that the documentary establishes itself as an alternative media that gives voice to different social actors and builds spaces of visibility and deepening of the causes, demands and problems of the contemporary that are evidenced through this symbolic representation. In this instance of struggle for power, how are identities of resistances constructed through the audiovisual documentary narrative? Social representations are analyzed in the documentaries Lute como uma menina (2016), You turn (2019) and Acabou A Paz, Isto Aqui Vai Virar o Chile! (2016), which illustrate the secondary occupations against the proposed reform of São Paulo education in 2015. Such uprisings have elements of a protest culture similar to the events of June 2013 and characteristic of the dissatisfaction of the network society. Methodologically, bibliographic and documentary research, netnography and film analysis, in-depth interview and analysis of the perceptions of such works with public opinion are used. / Doutor

Syftet med studien var att undersöka representationen av kvinnliga idrottare i sportdokumentärer på tre strömningstjänster: SVT Play, TV4 Play och Viaplay. Studien behandlade tre huvudsakliga forskningsfrågor: I vilken utsträckning representeras kvinnliga idrottare som huvudpersoner? Hur konstrueras föreställningar av kvinnliga idrottare genom visuella och textuella element i sportdokumentärer? Vilka likheter respektive skillnader går att utläsa i representationen av kvinnliga idrottare mellan public service och kommersiella aktörer? Genom en kvantitativ innehållsanalys av 170 sportdokumentärers omslagsbilder, titlar och innehållsbeskrivningar avslöjades en betydande underrepresentation av kvinnliga idrottare på samtliga strömningstjänster. Resultaten påvisade också att när kvinnor representeras tenderar de att framställas som offer eller individer som övervinner motgångar. Den kvantitativa analysen förlängdes med en kvalitativ semiotisk analys av tre dokumentärer för att ytterligare utforska hur kvinnor porträtteras i det visuella materialet. Analysen indikerade ett särskilt fokus på kvinnors historiska kamp för idrottsutövande på grund av ojämställdhet, med begränsat fokus på att skildra deras faktiska atletiska prestationer. Resultaten ställdes i relation till teorier som berör vidmakthållandet av stereotyper och makthierarkier förknippade med kön genom mediernas utbud av sportdokumentärer. Gällande den tredje forskningsfrågan visade resultaten skillnader i representation mellan public service och kommersiella aktörer. Public service-media uppvisade en bredare representation av kvinnliga idrottare, men även deras utbud av sportdokumentärer tenderade vidmakthålla bilden av kvinnor som offer som kämpar för sina rättigheter. Studien understryker slutligen vikten av att ifrågasätta och utmana rådande representationer inom fältet för dokumentärer. / The purpose of the study was to examine the representation of female athletes in sports documentaries across three streaming services: SVT Play, TV4 Play and Viaplay. The study addressed three main research questions: To what extent are female athletes represented as protagonists? How are perceptions of female athletes constructed through visual and textual elements in sports documentaries? What are the similarities and differences in the representation of female athletes between public service and commercial media? Through a quantitative content analysis of 170 sports documentaries' cover images, titles, and descriptions, a significant underrepresentation of female athletes was revealed across all streaming services. The results also indicated that when women are represented, they tend to be depicted as victims or individuals overcoming challenges. The quantitative analysis was supplemented with a qualitative semiotic analysis of three documentaries to further explore how women are portrayed in the visual material. The analysis suggested a particular focus on women's historical struggle for sports participation due to inequality, with limited emphasis on depicting their actual athletic achievements. Results were contextualized with theories addressing the perpetuation of stereotypes and power hierarchies associated with gender through the media's offerings of sports documentaries. Regarding the third research question, results showed differences in representation between public service and commercial channels. Public service media demonstrated a broader representation of female athletes, but their offerings of sports documentaries also tended to perpetuate the portrayal of women as victims fighting for their rights. The study ultimately underscores the importance of questioning and challenging prevailing representations within the field of documentaries.

The thesis "The documentary series Kmeny from the perspective of creators and viewers" addresses the audience reception and notions of culture documentary series producer strains. Kmeny are unique documentary series that aired on Česká televize from March 2015 to June 2015. The aim is to describe the primary intention of producers representing various urban subcultures and this plan will be confronted with the reception of the audience. The theoretical part focuses on the documentary, his conception of the role and film-maker. Further describes several approaches to research audiences and influence of media messages to the audience. Research will be presented to representatives of the main concepts of cultural studies - Stuart Hall and John Fiske. The last part will focus on the aesthetics receptionist kostnická škola. The research part will be done through interviews with viewers and creators. Secondary research method will be in-depth interviews with viewers within an ethnographic approach.

The principle aim of the study is to describe, analyze and problemize the ways in which television science documentaries (within a public service context) discursively represent scientific theories, research results and conclusions about the origins of human nature and the causes of human behavior. The study covers 25 programs broadcasted by SVT and UR during a period of four years,2002-2005 , and 12 additional programs are used as a basis for discussion. Most of the programs included in the study are productions purchased mainly from BBC Science. Thus, managing editors, producers and presenters were interviewed for the purpose of illuminating quality judgements and purchasing criteria. A five stage-model of critical discourse analysis has inspired the method which emphasizes the network of communicative practices in which the media text and representation are embedded. That includes media genre, production and narrative conventions as well as the wider historical, social and political/ideological context and discourse practices of which the issues represented are a part. The critical discourse analysis has been complemented by ideas about different documentary modes of representation or basic ways of organizing documentary texts in relation to certain recurrent features or conventions. In the analysis these modes have been applied to understand the degree of transparency and editorial presence and visibility in the science documentaries. The importance of the discourses presented is related to their more applied meanings. When certain descriptions, explanations and understandings of alleged human “basics” gain priority, it may affect the possibilities to define and handle very concrete social issues in a way that is inconsistent with this fundamental perspective. Thus, the ideological function of the science documentaries (as public service-program and educational media) deserves serious attention.

Made available in DSpace on 2015-05-14T12:23:19Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2010941 bytes, checksum: 5487a32f7f60369ca5ab6818f58a53f8 (MD5) Previous issue date: 2010-07-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work discusses the process of political emergence of the cocalero movement in Bolivia, specifically of the peasant coca growers whose production is centered in the tropical valleys of the department of Cochabamba, in the Chapare region. Assuming that the study of the cocaleros' own experiences is a key to understand the development of their identity and their making of as a subject of collective action, we analyzed the changes and reconfigurations within that broad contemporary social movement, amid the reality of direct struggles against the Bolivian neoliberal state. The experiences of the cocaleros during the 1980s, in the context of the War on Drugs held by the U.S. led them to assume, first, a defensive posture against attempts to eradicate their source of livelihood; which gradually took the form of a political project itself, based on demands of recognition of the indigenous nations from the Andes, greater political participation of popular segments and advocacy of a historical culture based on the ancestrality of their practices and worldview. The time frame of our research covers the period from 1995, year in which was founded the ASP the Asamblea por la Soberanía de los Pueblos, organization that would lead the instrumento político cocalero called MASIPSP, or Movimiento al Socialismo - Instrumento Político por la Soberanía de los Pueblos until the year 2006, when the presidential candidate for the MAS-IPSP assumed for the first time the most important political office in the country. The dissertation has as inspiration the productions and reflections of authors (writers and filmmakers) who belong to the specific regionality known as the South, which, like the Bolivian social movements, perceive Latin America and other regions of the world as places incorporated in a subordinate way to the process of hegemonic globalization finding that leads to an imminent reflection on possible prospects of sociopolitical, economic, cultural and epistemic decolonization of these regions. / Este trabalho discute o processo de emergência política do movimento cocalero na Bolívia, especificamente dos camponeses plantadores de coca cuja produção está centrada nos vales tropicais do departamento de Cochabamba, na região do Chapare. Partindo do pressuposto que o estudo das experiências próprias dos cocaleros constitui um elemento fundamental para compreendermos a elaboração de sua identidade e o seu fazer-se como sujeito de ação coletiva, buscamos analisar as transformações e reconfigurações no interior desse amplo movimento social contemporâneo, em meio à realidade de embates diretos contra o Estado neoliberal boliviano. As experiências vivenciadas pelos cocaleros a partir da década de 1980, no contexto da guerra ao narcotráfico defendida pelos EUA, levaram-lhes a assumir, primeiramente, uma postura defensiva frente às tentativas de erradicação de sua fonte de subsistência; que gradualmente assumiu a forma de um projeto político próprio, baseado em demandas de reconhecimento das nações originárias andinas, de maior participação política das camadas populares e na defesa de uma cultura histórica fundamentada na ancestralidade de suas práticas e cosmovisão. O recorte temporal de nossa pesquisa abrange o período de 1995, ano em que foi fundada a ASP a Asamblea por la Soberanía de los Pueblos, organização que daria origem ao instrumento político cocalero chamado MAS-IPSP, ou Movimiento al Socialismo - Instrumento Político por la Soberanía de los Pueblos até o ano de 2006, quando o candidato à presidência pelo MAS-IPSP assumiu pela primeira vez o cargo político mais importante do país. A dissertação tem como inspiração as produções e reflexões de autores (escritores e documentaristas) que integram a regionalidade específica conhecida como Sul, os quais, assim como os movimentos sociais bolivianos, percebem a América Latina e outras regiões do mundo como localidades incorporadas de maneira subalterna ao processo de globalização hegemônica constatação que conduz a uma iminente reflexão sobre possíveis perspectivas de descolonização sociopolítica, econômica, cultural e epistêmica dessas regiões.