DALMEIDA, Alfredo Dias. A construção do outro nos documentários de Geraldo Sarno e Jorge Prelorán. 2008. 257 f. Tese (Doutorado) Programa de Pós-Graduação em Integração da América Latina, Universidade de São Paulo, 2008. Por meio de um estudo comparado entre os filmes sobre a cultura popular realizados por Geraldo Sarno e Jorge Prelorán na segunda metade da década de 60, busca-se identificar como é construído o outro no documentário. O estudo também dá pistas sobre a postura da esquerda e dos intelectuais à época e sobre que imagens da cultura popular emanam do outro nessas obras. Defende-se que a construção do outro se efetiva a partir da estratégia fílmica, do olhar do realizador e da interação entre o realizador e o outro. Esses elementos são conformados pelos contextos social e histórico, de um lado, e pelas opções formais e estéticas de cunho pessoal, de outro. Discute-se a história do documentário e as estratégias fílmicas que influenciaram o chamado de Nuevo Cine Latinoamericano, movimento cinematográfico no qual Sarno e Prelorán estão inseridos. Decompõem-se unidades narrativas, visuais e sonoras de um conjunto de documentários, para apreender como os significados ganham inteligibilidade e que concepção do outro é construída. Conclui-se que o outro é construído como personagem no seu encontro com o cineasta, por uma troca de saberes negociada. Como personagem, o outro será reconstruído novamente na montagem, pelo olhar do realizador. Hermógens Cayo é apontado como um exemplo de atitude ética por parte do documentarista. / DALMEIDA, Alfredo Dias. The construction of the other in the documentaries of Sarno and Prelorán. 2008. Thesis (Doctoral) Programa de Pós-Graduação em Integração da América Latina, Universidade de São Paulo, 2008. This thesis analyzes the work of Geraldo Sarno (Brazil) and Jorge Prelorán (Argentina) in the sixties, aiming to identify how the other is built in documentaries. Their work give voice to country people deprived of modern means of production. Their movies provide material to discuss the position of the local intellectual elite regarding popular culture and cultural colonialism. After describing the image of Latin America popular culture forged by those moviemakers, we claim that the other is a persona produced by the filmic strategy, due to two factors: (1) the nature of the interaction between interviewer and her subject; and (2) the point of view of the moviemaker. The latter tailors the other during the film edition. Dismounting units of meaning, in terms of story, visual sequence and sound track, we get insights about how the ethical and aesthetic options of a moviemaker, on one hand, and the social and history moment of creation, on the other hand, contribute to the specific quality of a particular movie. We also identify Nuevo Cine Latinoamericanos main inspirers.

Método: Trata-se de uma pesquisa qualitativa de cunho documental utilizando o audiovisual como lócus de instalação de depoimentos de lideranças indígenas do Estado do Acre, Brasil. O objetivo é analisar registros de vivências de lideranças indígenas sobre suas condições de vida, como contribuição às políticas públicas do SUS. E apresentar uma proposta interventiva a partir das potencialidades do vídeo documentário. Resultados: A população indígena, por uma série de motivos, certamente é a parcela da população brasileira sobre a qual menos existem dados específicos que permitam o estabelecimento de políticas de saúde pública eficazes. Embora tenham ocorrido avanços significativos no conhecimento das questões indígenas e um crescente empoderamento das lideranças indígenas na luta por seus direitos básicos de cidadania, a situação ainda está aquém do esperado. Temas relevantes abordados: 1. Participação nas instâncias do poder público/ direitos indígenas. 2. Medicina tradicional exterioridade da doença. 3. Dificuldades com o SUS. 4. Cuidados de saúde nas aldeias. 5. Segurança Alimentar e desnutrição. 6. Qualidade da água e saneamento básico. 7. Logística. 8. Cobertura vacinal. 9. Saúde das mulheres indígenas. 10. Ecologia e biodiversidade. 11. Morte de crianças indígenas. Conclusões: 1. A omissão sistemática dos governos em qualificar agentes de saúde indígenas no tocante às intervenções em saúde individual e coletiva e no exercício dos direitos sociais. 2. Falta de empenho do SUS em contratar profissionais com formação especializada para compor as equipes e direções do Sistema de Saúde que atuam nas aldeias e nos postos avançados de saúde no interior do território. 3. Dificuldades de comunicação entre as equipes do SUS e os povos indígenas. Há barreiras de idioma, de cultura e de percepção do processo saúde-doença / Method: This is a qualitative research that uses the documentary audio-visual like a place of installation register statements of native indigenous leaders of Acre, Brazil. The objective is to analyze records of indigenous leaders from experiences about their living conditions as a contribution to public SUS policies. And present an interventional proposal from the documentary video potentiality. Results: The indigenous population, for a number of reasons, it is certainly the Brazilian population, on which there is less specific data that allow the establishment of effective public health policies. Although there have been significant advances in knowledge of indigenous issues and a growing empowerment of indigenous leaders in the struggle for their basic rights of citizenship, the situation is still below expectations. Relevant topics approached:1. Participation in public authoritys instances / indigenous rights. 2. Traditional medicine - externality of the disease. 3. Difficulties with SUS. 4. Health care in villages. 5. Food security and malnutrition. 6. Water quality and basic sanitation. 7. Logistics. 8. Vaccination coverage. 9. Indigenous women\'s health. 10. Ecology and biodiversity. 11. Death of indigenous children. Conclusions: 1. the systematic omission of governments in qualify indigenous health workers with regard to the individual and collective health interventions and the exercise of social rights. 2. Lack of commitment of the SUS in hiring professionals with specialized training to compose the teams and directions of the Health System that work in the villages and in the outposts of health in the territory. 3. Difficulties in communication between SUS teams and indigenous peoples. There are barriers to language, culture and perception of the health-disease process

Michael Moore est une icône culturelle aux États-Unis. Son nom évoque la polémique, la contestation politique mais aussi le film documentaire à succès (Bowling For Columbine, primé aux Oscars, Fahrenheit 9/11, Palme d’Or à Cannes). Les six films du corpus, —Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) et Captain Mike Across America (Slacker Uprising) (2008) —, posent une triple problématique : la tension entre documentaire classique et documentaire hybride, la présence/absence du documentariste dans son film, et la réception du spectateur organisée par le divertissement et/ou la politique. Trois axes majeurs émergent, autour desquels l’articulation de la thèse peut s’effectuer : le divertissement, la politique et l’autosuffisance. La méthodologie pour rendre compte de cette triple problématique résulte d’un montage quali-quanti. Il s’agit de faire appel à l’analyse de discours mais aussi à l’analyse de contenu (pour mesurer la présence de manière quantitative). L’histoire américaine et l’histoire du documentaire sont également nécessaires pour situer Moore à la fois dans la lignée de certains de ses ainés, mais aussi pour mesurer sa propre influence sur le genre avec ses propres héritiers. Au bout du processus, il est possible de constater que Moore a insufflé un nouvel élan dans le genre du film documentaire en rejetant le modèle classique de type info-argument, rendant ses productions aussi populaires que des blockbusters hollywoodiens. Cette transformation vient de la combinaison inédite des finalités de divertissement et de politique pour créer un documentaire à la Michael Moore du type info-tainment. Avec l’ajout d’une troisième finalité d’autosuffisance, le documentaire moorien se signale aussi par une augmentation considérable de la présence du documentariste à l’écran et une densification de ses interventions au montage. En modifiant le documentaire classique, Moore a mis en place plusieurs stratégies de regard et de récit/storytelling afin de favoriser une assimilation efficace de ces trois finalités dans l’esprit du spectateur. / Michael Moore is a cultural icon in the United States. The mere mention of his name evokes polemics, political protest but also blockbuster documentary films (The Academy award winning Bowling For Columbine and Fahrenheit 9/11 which won the Palme d’Or at Cannes). The six films of this corpus—Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) and Captain Mike Across America (Slacker Uprising) (2008)—, are problematic in three ways: the discordant relationship between classic and hybrid documentary, the presence/absence of the documentary filmmaker in his own film, and the spectator’s reception of the film along the lines of entertainment and/or politics. Three main areas, thus, emerge around which the thesis can be constructed: entertainment, politics and self-sufficiency. The methodology used to attend to these three matters of discussion comes directly from quali-quanti research. This implies calling on discourse analysis but also content analysis (to measure Moore’s presence quantitatively).The history of the United States as well as that of the documentary film are also necessary to situate Moore not only in the footsteps of some of his predecessors but also to measure his own influence on the genre as evidenced by his very own successors. Ultimately, it can be noted that Moore has breathed new life into the documentary film genre by rejecting the traditional info-argument model, thereby making his films as successful as Hollywood blockbusters.This transformation arises from the unique combination of entertainment and politics to make a Michael Moore info-tainment style documentary. With the added third documentary finality of self-sufficiency, the Michael Moore documentary film is marked by a considerable increase of the filmmakers on-screen presence as well as density of the documentarian’s interventions in the editing room. By modifying the traditional documentary film form, Moore has established several strategies of gaze and narrative/storytelling in order to stimulate the effective absorption of his three main documentary finalities into the mind of the spectator.

There is an aversion within the field of Appalachian Studies to addressing the cultural formulations of the Appalachian/hillbilly/mountaineer as an icon of aggressive resistance. The aversion is understandable, as for far too long images of the irrationally and savagely violent mountaineer were integral to the most gross popular culture stereotypes of Appalachia. Media consumers often take pleasure or comfort in these images, which usually occur in a reactionary context with the hillbilly as either a type of nationally necessary savage OR as an unregenerate barbarian against whom a national civilization will triumph and benefit by the struggle. I bookend my study with two artifacts of Appalachian representation, linked in specific subject matter, but separated by twenty years. The 1991 West Virginia Public Television-produced documentary film The Dancing Outlaw quickly became an underground cult classic—an object of both absurdist delight and cultural identification within the punk subculture, particularly among those with both a punk sensibility and personal connections to the Appalachian region (birth, upbringing, residency, ancestry). In 2009, MTV and the resources of its wildly popular Jackass franchise revisited the locale and family featured in this earlier documentary and produced the sophisticated and polished film The Wild, Wonderful Whites of West Virginia. The core purpose of this project, however, is to examine why Appalachia and/or the hillbilly, as constructed within and across these subcultures, possessed such appeal during this historical moment. My hypothesis is that such appeal lies primarily (but not exclusively) in the negative characteristics of the region and its inhabitants that are represented throughout a variety of subcultural texts: documentary film, art house cinema, niche regional literature, and independent zine publishing and early blogging. For both those identifying themselves as Appalachians/hillbillies (or some related variation thereof) and those “playing” as Appalachians/hillbillies, these images become statements of resistance and survival to challenge the national mass culture and the political ideologies supporting it.

This dissertation examines the process of using oral history and digital video to revise interpretation and represent more inclusive histories at three rural Texas historic sites—-Washington-on-the-Brazos State Historic Site, the Lyndon Baines Johnson State Park, and Varner-Hogg Plantation—-21st century sites that, to varying degrees, have persisted to interpret a Texas master narrative that is no longer socially tolerable in its silencing of marginalized Texas voices. In particular, the dissertation focuses on complicated and rarely discussed ethical issues that surfaced during my work from 2001 to 2006 shooting, editing, and situating interpretive documentary videos at the each of the three sites. Historic sites in Texas, like others across the United States and worldwide, have been receiving increasing pressure from scholars and community groups to represent women, racial minorities, and other marginalized groups more prominently in the narratives they interpret. Oral history and digital media have played key roles in this ongoing movement. Oral history has widely been touted as a tool to democratize history, and advocates of digital video interpretation cite its affordability, relative ease of use, and its ability to “say so much in so little time.” These factors are all the more compelling for local, regional, and state-wide historic sites that are chronically under-funded, under-staffed, and that must often interpret multiple, complicated narratives with very little time or space in which to present them. However, little has been done to explore the unique and complicated ethical issues that arise from using oral history and digital video at historic sites. This dissertation takes a case study approach and uses as its intellectual framework ideas of reflective practice, part of the contemporary discourse among public history practitioners. Each case study introduces the site through a critical analysis of the images and texts produced by the site; presents the central historical silence at each site; describes the solution that oral history and digital video interpretation was expected to provide; and then uses the project’s process-generated video footage and records to examine key situations that led me to raise ethical questions about the individual projects and the overall enterprise. / text

Made available in DSpace on 2015-05-14T12:39:59Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2124002 bytes, checksum: 7ac8b4bb33dfffbd497d16a3014a7138 (MD5) Previous issue date: 2014-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation aims to examine the possible approximation between productions of narrative journalism and documentary film. We have used the profile Artur tem um problema (2010a), published in the piauí magazine, written by João Moreira Salles, as a starting point for examining the main objective of our research , the film Santiago: uma reflexão sobre o material bruto (2007), also written by Salles, establishing connections with other journalistic and filmic texts. Both in profile and in the documentary, we have verified the presence of intrinsic elements of narrative journalism (LIMA, 1995; WOLFE, 2005), which allows us to discuss the concept of cinematic literary journalism (LIMA, 2003). Through analysis, we have found out the convergence between these different fields of knowledge in narrative construction from the choice of a way of narrating grounded in experience (BENJAMIN, 1980; SANTIAGO, 1989), dialogue (MEDINA, 1986) and humanization of the character. Artur and Santiago do not only relate each other due to authorship. In both works, we have main characters who, to some extent, inhabit individual universe. In both, Salles plays not only as the narrator s identity (GENETTE, 1995; REIS, LOPES, 1988), but also as a character, quite different in degrees from a work to another, and attributes an essayistic style to the narratives (ADORNO, 2003a; LUKÁCS, 2008), bringing reflections on parallel themes: the profile (VILAS BOAS, 2003), the nature of mathematics; in the film the documentary itself as a genre itself (DA-RIN, 2004; NICHOLS, 2005; RAMOS, 2008). Santiago, however, introduces greater complexity and artistic dimension, allowing the deepening of discussion about form and language. A central question is to observe which gives an esthetical value (CHKLOVSKI, 1973; JAKOBSON, 1995; TODOROV, 1979), something that we try to understand by comparing it with the profile of the mathematician Artur Avila. For that, we have also considered its context of production, from the recording of the interview with Santiago Badariotti Merlo, former butler of Moreira Salles family, in 1992, to final montage, thirteen years later; the choices of the director to the narrative structure, the relation between documentarian and character (COUTINHO, 2013a; SALLES, 2005), besides other constituent elements of the work, as metafictionality and intonation (BAKHTIN, 2011). / Esta dissertação tem como objetivo examinar a possível aproximação entre produções do jornalismo narrativo e do cinema-documentário. Utilizamos o perfil Artur tem um problema (2010a), publicado na revista piauí, escrito por João Moreira Salles, enquanto ponto de partida para o exame do objeto principal de nossa pesquisa, o filme Santiago: uma reflexão sobre o material bruto (2007), também de autoria de Salles, estabelecendo conexões com outros textos jornalísticos e fílmicos. Tanto no perfil quanto no documentário, constatamos a presença de elementos intrínsecos do jornalismo narrativo (LIMA, 1995; WOLFE, 2005), o que nos permite discutir o conceito de jornalismo literário cinematográfico (LIMA, 2003). Por meio da análise, verificamos a convergência entre esses diferentes campos do saber na construção narrativa a partir da opção por um modo de narrar pautado na experiência (BENJAMIN, 1980; SANTIAGO, 1989), no diálogo (MEDINA, 1986) e na humanização do personagem. Artur e Santiago relacionam-se não apenas devido à autoria. Nas duas obras, temos personagens centrais que, em certa medida, habitam universos particulares. Em ambas, Salles posiciona-se não apenas como identidade do narrador (GENETTE, 1995; REIS, LOPES, 1988), mas também personagem, em graus bastante distintos de uma obra para outra, e imprime um estilo ensaístico às narrativas (ADORNO, 2003a; LUKÁCS, 2008), trazendo reflexões sobre temáticas paralelas: no perfil (VILAS BOAS, 2003), a natureza da matemática; no filme, o próprio gênero documental (DA-RIN, 2004; NICHOLS, 2005; RAMOS, 2008). Santiago, no entanto, apresenta maior complexidade e dimensão artística, permitindo o aprofundamento de discussões sobre forma e linguagem. Uma questão central é observar o que lhe confere valor estético (CHKLOVSKI, 1973; JAKOBSON, 1995; TODOROV, 1979), algo que buscamos compreender confrontando-o com o perfil do matemático Artur Avila. Para tanto, consideramos ainda o seu contexto de produção, desde a gravação da entrevista com Santiago Badariotti Merlo, ex-mordomo da família Moreira Salles, em 1992, à montagem final, treze anos depois; as escolhas do diretor para a estruturação narrativa; a relação entre documentarista e personagem (COUTINHO, 2013a; SALLES, 2005); além de outros elementos constituintes da obra, como a metaficcionalidade e a entonação (BAKHTIN, 2011).

O indivíduo contemporâneo é fragmentado e possui múltiplas identidades. Quantas referências culturais uma pessoa pode ter? Como essas diferentes identidades convivem entre si? Esta pesquisa acadêmica teve por objetivo utilizar o documentário como meio constituinte e significante para a reflexão sobre a construção das identidades culturais de imigrantes espanhóis na cidade de São Paulo. Para tanto, produzimos um exercício prático em formato de documentário, acompanhado de uma análise que contempla a reflexão sobre o método de produção construído durante a realização do exercício. A reflexão foi feita a partir de aproximações de métodos de produção do antropólogo David MacDougall e dos realizadores Eduardo Coutinho e Trinh T.Minh-há. Do mesmo modo, servimo-nos de alguns postulados de coleta de depoimentos da História Oral, propostos por José Carlos Sebe Bom Meihy, e dos acercamentos às memórias pessoais estudados por Ecléa Bosi. Levou-se em consideração, ainda, a hipótese elaborada no contexto do laboratório Aruanda lab.doc. Esse grupo de pesquisas, que reflete sobre as diferentes formas de produção de audiovisuais de não-ficção, postula como hipótese que não há uma metodologia única ou unificadora para o documentário, na medida em que ele tem como princípio fundante o compromisso com o real. Isso obriga ao realizador que haja adaptações dos métodos planejados às condições de realização impostas pelo mundo histórico. / The contemporary man is a fragmented being with multiple identities. How many cultural references can a person have? How those different identities interact? In this academic research, documentary film was used as means of constituency and significance of the construct of the cultural identities of Spanish immigrants in the city of São Paulo, Brazil. In order to achieve that, a practical exercise in a documentary film format was conducted, and a written discussion of the method of production elected for the practice was elaborated. The reflection is based on parallels with production methods from the anthropologist David MacDougall and the filmmakers Eduardo Coutinho and Trinh Minh-ha. The analysis also profits from the Oral History collection by José Carlos Sebe Bom Meihy and from Ecléa Bosis approach to personal memories. Another source for this research was the set of hypothesis bring about in Aruanda lab.doc meetings. Aruanda is a research group, concerned with reflecting on the various forms of audiovisual production of non-fiction and documentary films. We share Aruandas main research hypothesis is that no single or unifying methodology can account for a documentary film, due to the fact that the foundating principle of documentaries is the compromise with the worlds concrete realities, which requires adaptations of the planned methods to the conditions imposed by the historic world.

Método: Trata-se de uma pesquisa qualitativa de cunho documental utilizando o audiovisual como lócus de instalação de depoimentos de lideranças indígenas do Estado do Acre, Brasil. O objetivo é analisar registros de vivências de lideranças indígenas sobre suas condições de vida, como contribuição às políticas públicas do SUS. E apresentar uma proposta interventiva a partir das potencialidades do vídeo documentário. Resultados: A população indígena, por uma série de motivos, certamente é a parcela da população brasileira sobre a qual menos existem dados específicos que permitam o estabelecimento de políticas de saúde pública eficazes. Embora tenham ocorrido avanços significativos no conhecimento das questões indígenas e um crescente empoderamento das lideranças indígenas na luta por seus direitos básicos de cidadania, a situação ainda está aquém do esperado. Temas relevantes abordados: 1. Participação nas instâncias do poder público/ direitos indígenas. 2. Medicina tradicional exterioridade da doença. 3. Dificuldades com o SUS. 4. Cuidados de saúde nas aldeias. 5. Segurança Alimentar e desnutrição. 6. Qualidade da água e saneamento básico. 7. Logística. 8. Cobertura vacinal. 9. Saúde das mulheres indígenas. 10. Ecologia e biodiversidade. 11. Morte de crianças indígenas. Conclusões: 1. A omissão sistemática dos governos em qualificar agentes de saúde indígenas no tocante às intervenções em saúde individual e coletiva e no exercício dos direitos sociais. 2. Falta de empenho do SUS em contratar profissionais com formação especializada para compor as equipes e direções do Sistema de Saúde que atuam nas aldeias e nos postos avançados de saúde no interior do território. 3. Dificuldades de comunicação entre as equipes do SUS e os povos indígenas. Há barreiras de idioma, de cultura e de percepção do processo saúde-doença / Method: This is a qualitative research that uses the documentary audio-visual like a place of installation register statements of native indigenous leaders of Acre, Brazil. The objective is to analyze records of indigenous leaders from experiences about their living conditions as a contribution to public SUS policies. And present an interventional proposal from the documentary video potentiality. Results: The indigenous population, for a number of reasons, it is certainly the Brazilian population, on which there is less specific data that allow the establishment of effective public health policies. Although there have been significant advances in knowledge of indigenous issues and a growing empowerment of indigenous leaders in the struggle for their basic rights of citizenship, the situation is still below expectations. Relevant topics approached:1. Participation in public authoritys instances / indigenous rights. 2. Traditional medicine - externality of the disease. 3. Difficulties with SUS. 4. Health care in villages. 5. Food security and malnutrition. 6. Water quality and basic sanitation. 7. Logistics. 8. Vaccination coverage. 9. Indigenous women\'s health. 10. Ecology and biodiversity. 11. Death of indigenous children. Conclusions: 1. the systematic omission of governments in qualify indigenous health workers with regard to the individual and collective health interventions and the exercise of social rights. 2. Lack of commitment of the SUS in hiring professionals with specialized training to compose the teams and directions of the Health System that work in the villages and in the outposts of health in the territory. 3. Difficulties in communication between SUS teams and indigenous peoples. There are barriers to language, culture and perception of the health-disease process

The film is about a newly arrived Japanese student's initial period of adjustment at the University of North Texas. This observational documentary film follows the student and witnesses the student's first reactions to various social environments. The purpose of this creative thesis project was to depict the difficulties that international students encounter at the beginning of their stay in America. The initial goal of the video was to provide useful visual research material to people who are interested in the acculturation of foreign students. Because of its realistic character, the video can give its audiences a more immediate and vivid picture of foreign students than existing written literature. By giving an authentic portrait of the students' hardship and adjustments, the ultimate goal of this video was to increase the American people's appreciation of the difficulties encountered by foreign students who come to this country equipped with limited social assistance and resources. An accompanying production report describes the research process, the pre-production, production, and post-production stages.

This diploma thesis deals with the attitude of the Z generation to Czech documentary films and series. The aim of the work is to describe the common tendencies of the whole generation Z or its subgroups within their attitude to Czech documentary production. The research method for determining the attitude of this generational cohort is a questionnaire survey. In the beginning the Z generation is characterized, its formants and basic characteristics are analyzed. One of the subchapters also focuses especially on the Czech generation Z. In the theoretical part space is also devoted to documentary production, specifically its characteristics, typology and history of documents. The genre of the document is presented both in the global context and also in the Czech environment in the work. The practical part describes the research which has the form of a questionnaire survey. The results are presented for each evaluated question separately while at the end there is a collective summary with the most important and interesting findings from the research.