In The Circus: A City Symphony, I took the visual notes and phrases I had collected and considered while traveling with Carson and Barnes Circus year after year and created tunes and themes, revealing through gestures rather than stating through words

Graduation date: 2006

Anthropological research discusses the potential of light to act as a social agent, influence culture and substantially effect the ways that people interact. To enrich this scholarship with ethnographic engagement the following analysis applies and expands upon these concepts while discussing a database documentary about the moonlight towers of Austin, Texas. Moonlight towers are historic street lights dating from the late 19th century that are no longer necessary to light the city and yet they remain as fine engineered sentinels, shedding mercury vapor luminance over the city. This is a meditative inquiry into the types of agency light has in particular spaces referred to in this work as the ruminating concept of lightspace. As a concept, lightspace refers to the experience of light in space and is concerned with how light illuminates and shapes the everyday, tracing fissures between inclusion and exclusion. This work acknowledges the existence of lightspace in order to show there are ways that light shapes our experiences of which we are only partially aware. In the midst of this attunement to the experience of light are valid ideas about how people in Austin, Texas relate to space and to each other. The work of Henri Lefebvre is used as a point of departure to develop the concept of lightspace. In The Production of Space, Lefebvre arrives at the conclusion that the experience of geographical space is fundamentally social by making connections between perceived space and conceived space to create lived space of the imagination (1978: 70). In this philosophy, perceived space as constitutes our lived, everyday experience of space, while conceived space is a translation of perceived space using knowledge, signs, and codes, such as a map. Lived space then is our own unique, individual negotiation of perceived space using conceived space. This introduction to lightspace shows how connecting perceived and conceived lightspace in Austin reveals a lived experience of light in the imagination. / text

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Thesis (M.F.A.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references (leaf 59).

In order to explore the embodiment of oral history in documentary film this study sets out its analysis in two sections. The first section concentrates on understanding the issue of intersubjectivity in Walter Ong’s idea of ‘orality’, namely, orality as characterized by an interactive relation between speaker and listener, based on the sensual-perceptual experience of sound phenomenon and the expressive act of the spoken word. Additionally, in this first section, intersubjectivity in cinematic experience is also investigated in relation to early German film theorists’ romantic conceptions of filmic ‘gesture’. Employing a ‘performance-centered’ approach, the second section of the dissertation analyzes how the oral testimony and the embodied witness collaboratively produce historical knowledge on the scene of interviewing and beyond. This section will also consist of three case studies covering three broad areas of historical identity: 1. Women induced into sexual slavery by Japanese troops (the so-called ‘comfort women’); 2. Villagers affected by the Great Leap Forward Famine, and 3. Intellectuals affected by political persecutions during the era of Mao.

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T05:37:00Z (GMT). No. of bitstreams: 1 Bezerra_Claudio_D.pdf: 1732633 bytes, checksum: 296bdf93a9460240a4aad3072f2ffcbf (MD5) Previous issue date: 2009 / Resumo: Foi investigada a transformação de pessoas comuns em personagens do documentário de Eduardo Coutinho, a partir dos dispositivos de filmagem e de montagem dos filmes do diretor. A hipótese trabalhada é a de que Coutinho formatou um estilo de fazer e pensar cinema documental, criando uma personagem peculiar para o seu cinema, semelhante ao performer da arte performática. A tese classifica a obra do cineasta em três fases - Experimentação, Gestação de um Estilo e Documentário de Personagem - e tem como foco seis trabalhos da última fase: Santo Forte (1999), Babilônia 2000 (2001), Peões (2002), Edifício Máster (2003), O Fim e o Princípio (2005) e Jogo de Cena (2007). A partir do desempenho dos performers-personagens diante das câmeras, atuando em interlocução aberta com o diretor, e da montagem em corte seco (enfatizando a expressão oral e gestual sem adicionar qualquer outro elemento narrativo exterior à filmagem), a tese propõe a existência de nove modos de as personagens coutinianas marcarem uma presença no mundo: divertida, melodramática, xamanística, educativa, provocadora, musical, exibicionista, esotérica e indecisa. / Abstract: This research investigated the transformation of common people in characters in documentaries made by the Brazilian film director Eduardo Coutinho, from the devices of filming and montage in his movies. The worked hypothesis is that Coutinho formatted a style of making and conceiving documentary cinema, creating a particular character similar to the performer in performance art. The dissertation classifies Coutinho's entire work in three phases - Experimentation, Gestation of a Style, and Character Documentary. It focuses six works of the last phase: Santo Forte (1999), Babilônia 2000 (2001), Peões (2002), Edifício Máster (2003), O Fim e o Princípio (2005) e Jogo de Cena (2007). From the performance of the individuals in front of the camera, acting in open interlocution with the director, and of the montage in dry cut (emphasizing the verbal and gestural expression, without adding any another exterior narrative element to the filming), the dissertation considers the existence of nine ways of the Coutinho's characters to mark a presence in the world: Divertida (Funny), Melodramática (Melodramatic), Xamanística (Xamanistic), Educativa (Educational), Provocadora (Provoking), Musical (Musical), Exibicionista (Exhibitionistic), Esotérica (Esoteric) and Indecisa (Undecided). / Doutorado / Doutor em Multimeios

Overcapacity is a self-reflexive, personal journey film that explores the filmmaker's exploration of his lifelong problem with obesity and health. The film follows his progress as he discusses his weight problem with his partner and parents as well as works with a personal trainer and doctor in an effort to affect a lifestyle change while also confronting issues that have led to and perpetuate his current health situation.

Lookouts follows Matt and Joann, two fire tower lookouts for the United States Forest Service, as they discuss their happiness living in seclusion as well as the decline of fire towers due to technological advances.

Rehlet Iraqi was created to depict an Iraqi refugee family’s struggle after fleeing war-torn Iraq. Their struggle is highlighted with hope and high expectations for a better life within the United States. This film emphasizes the toll that emigration has on the life of a family before and after their arrival to Grand Rapids, Michigan.