This doctoral submission grew out of a series of long form documentaries that I wrote, produced, and directed between 1993 and the present. The films, which were broadcast on US television's PBS network, all deal with scientific, medical, or environmental issues that developed into prominent national and international controversies. DVDs and scripts of the seven programs are provided along with a detailed overview. The submission is organized as three projects and an overview. 1. Project One (discussed in chapters 3-7) consists of three documentaries: the first about a novel therapy for autism ; the second dealing with the alleged health effects of power line electromagnetic fields ; and the third focused on the silicone breast implant controversy. 2. Project Two (discussed in chapters 8-11) consists of programs on nuclear energy, Gulf War Syndrome, and genetically modified foods. 3. Project Three (discussed in chapters 12-14) features a two-hour special investigation of global warming. 4. The Overview, Communicating Controversy in the Mass Media not only provides an overarching analysis of the portfolio of films and the attendant theoretical issues, but also serves to summarize the works themselves. In the Project sections of the written overview (chapters 3-14), the analysis is interwoven with extracts from the various documentaries. This portfolio and overview tells the evolving story of a body of work at the intersection of documentary, investigative journalism and science. It reveals the journey of one producer who started out with an interest in unpacking complex controversies, but became increasingly fascinated with the psychological and political dimensions of these narratives. Whether a particular controversial belief holds up under scrutiny is undoubtedly important. But there are other fascinating questions: why do people adopt such beliefs in the first place; why do individuals cling to their beliefs in the face of contrary scientific evidence; and what roles do special interests and the media play in amplifying or attenuating the public's hopes and fears? This portfolio and overview, therefore, not only examine a series of high profile controversies, but go further by: explaining the process by which these topics were turned into documentaries; exploring the way humans analyze, perceive and communicate benefits and risks; and critically examining the validity and ethical standing of modern television journalism. This submission represents a significant contribution to knowledge in several ways. First this series of in-depth, original investigations of environmental and health controversies from one producer is unparalleled in broadcast journalism. Second, the overview's analysis synthesizes and extends a wide range of social science research on risk assessment, risk perception and risk communication and applies this research to the featured controversies and the media's role in them. Third, the portfolio and overview reveal how a blend of documentary, journalism and science is an especially effective way of advancing public understanding of and engagement with modern scientific controversies and goes on to suggest some exciting new directions for communicators. Finally, the case studies in this portfolio provide a basis of knowledge about how communicators can effectively use audiovisual media to navigate the world of risks and benefits that permeates many of society's most crucial policy dilemmas.

This study aimed to contest political and cultural stereotypes depicted through the verbal and audio-visual languages used to represent the Rwandan genocide in the films, A Good Man In Hell(2002), Hotel Rwanda(2004), Sometimes In April(2005) and Keepers of Memory(2004). A Good Man in Hell criticised the racism that influenced the international community not to help Rwandans stop the genocide. In Hotel Rwanda, mostly the Tutsis died during the genocide of 1994. Sometimes in April revealed that the Hutu middle class engineered the genocide. Keepers of Memory depicted the gendered nature of the language of genocide and showed that women were silenced at various levels. The films partially succeeded in depicting the Rwandan genocide because the films did not sufficiently foreground the socio-economic factors that created the conditions for genocide to happen. The study suggested that future research on film representations could compare and contrast cases of genocide in Africa. / English Studies / Thesis ( MA (African Languages))

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-04-29T15:11:25Z No. of bitstreams: 1 TESE DE RODRIGO OLIVEIRA LESSA.pdf: 2736590 bytes, checksum: 094549a86a6970619800b8e764308f55 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2016-04-29T19:34:41Z (GMT) No. of bitstreams: 1 TESE DE RODRIGO OLIVEIRA LESSA.pdf: 2736590 bytes, checksum: 094549a86a6970619800b8e764308f55 (MD5) / Made available in DSpace on 2016-04-29T19:34:41Z (GMT). No. of bitstreams: 1 TESE DE RODRIGO OLIVEIRA LESSA.pdf: 2736590 bytes, checksum: 094549a86a6970619800b8e764308f55 (MD5) / CAPES / Neste estudo buscamos compreender as representações da classe trabalhadora no cinema documentário brasileiro, sobretudo as que foram desenvolvidas entre meados dos anos 1960 e início dos anos 1980, um período de desenvolvimento estético muito singular para este gênero do cinema nacional. Para realizar este objetivo, reunimos um conjunto de quatro filmes documentários que abordaram temas como movimentos grevistas, migração e modo de vida das populações urbanas, questões que levaram os filmes a capturar aspectos das condições sociais de frações do proletariado. São eles: Viramundo (1965), de Geraldo Sarno, A opinião pública (1968), de Arnaldo Jabor, ABC da greve (1979/1990), de Leon Hirszman, e Cabra marcado para morrer (1984), de Eduardo Coutinho. A investigação toma como ponto de partida os próprios filmes, pois, sob a perspectiva dialética aqui empregada, os conhecimentos presentes na obra de arte são parte de uma representação que é a síntese das determinações resultantes da relação reciprocamente mediada entre o sujeito e a realidade social. Esta síntese, por sua vez, compreende a própria representação, exteriorizada no modo como conteúdo e forma estão articulados na obra de arte, acionada através de um exercício de decomposição e recomposição da linguagem cinematográfica. Mediante o estudo aqui realizado, destaca-se o modo pelo qual as imagens do cotidiano, das lutas e do modo de vida da classe trabalhadora acompanharam as principais transformações no âmbito do desenvolvimento estético do cinema documentário no país, sendo a classe o principal sujeito histórico de um momento no qual o cinema documentário revisou seus modos de representar e reportar-se à realidade social. This study aims to understand the representations of the working class in the Brazilian documentary filmmaking, especially those that have been developed between the mid 1960s and early 1980s – an aesthetic development period very unique for this genre of national cinema. To accomplish this goal, we have compiled a set of four documentary films that covered topics such as strike movements, migration and way of life of urban populations, issues that led the film to capture aspects of the social conditions of the proletariat fractions. They are: Viramundo (1965), by Geraldo Sarno, A opinião pública (1968), from Arnaldo Jabor, ABC da greve (1979/1990), realized by Leon Hirszman, and Cabra marcado para morrer (1984), maked by Eduardo Coutinho. The research takes as its starting point the films themselves because, in the dialectical perspective employed here, the knowledge present in the work of art are part of a representation which is the synthesis of the determinations resulting from mutually mediated relationship between the subject and the social reality. This synthesis, in turn, comprises the representation itself, externalized in how content and form are articulated in the artwork, triggered by an exercise of decomposition and recomposition of film language. Through the study held here, there is the way in which the images of everyday life, the struggles and the way of life of the working class followed the main changes under the aesthetic development of documentary filmmaking in the country. Class that consists in the main historical subject in which the documentary film revised its ways of representing and refer to the social reality.

This study examines the representation of Local Education Authority (LEA) secondary schooling in England and Wales as it was portrayed in non-fiction British Broadcasting Corporation (BBC) programmes in the twenty-one years that followed the 1944 Education Act. The primary sources drawn on for this study include the surviving microfilmed radio scripts, dating from 1944–1965 and held at the BBC Written Archives (BBC WAC). The correspondence files from contributors to programmes also provide a key source from BBC WAC. The majority of the programmes considered are radio broadcast, however some documentary films on the topic of secondary education, made by the BBC and transmitted on television, are also analysed. Where audio-visual copies have survived, the programmes were viewed at the BFI Viewing Services. The study draws on 235 BBC programmes in total, made in the years 1944–1965. The details of these broadcasts can be seen in the three Appendices accompanying this study. The study also employs the use of drawing to present key ideas. This study explores how broadcasts are formed as cultural products. The research questions address: what was the content of these programmes? Who collaborated to create and edit these programmes and how were the programmes devised to inform the public about the provision of secondary education? What was the role of the All Souls Group (ASG) in this collaboration? The public included a domestic audience in England and Wales and an overseas audience for whom distinct broadcasts were usually created. A further element of the research is a scrutiny of the BBC as an organization that positions itself as neutral. The considered programmes enabled a group of eloquent educationalists to use their rehearsed and edited ‘conversation’ on a public stage. As the study unfolds it becomes apparent that the members of the informal education discussion group, the ASG, were lobbying to encourage the topic of secondary education to resurface sufficiently often on air. The study concludes with recognition that the reinforcing of loyalties between overlapping networks, such as the BBC and the ASG, should no longer be approached with reticence in academic research.

Orientadores: Fernão Vitor Pessoa de Almeida Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T01:26:07Z (GMT). No. of bitstreams: 1 Mendes_MarcosdeSouza_D.pdf: 52868204 bytes, checksum: aa6a12009464b94e715ad9e28bc611d3 (MD5) Previous issue date: 2006 / Résumé: Cette recherche étudie le travail conjoint réalisé entre le photographe et cinéaste Heinz Forthmann (1915-1978), Brésilien par option, et l¿anthropologue Darcy Ribeiro (1922-1997) à la Seção de Estudos, SE, du SPI. Fondée en 1942 par l¿indigéniste Cândido Mariano da Silva Rondon, la SE avait pour but, entre autres, de rechercher et de documenter ¿ au moyen de photographies, du cinéma et d¿enregistrements sonores ¿ la vie, les rites et les manifestations culturelles des peuples indigènes du Brésil. Les directives de documentation ethnographique, créés tout d¿abord par Harald Schultz, furent développées dès 1949 par Darcy Ribeiro, lequel rechercha l¿intégration entre les investigations ethnologiques et linguistiques et la réalisation cinématographique. Ce cycle de travail s¿est prolongé jusqu¿en 1959 et généra d¿importants films documentaires qui se sont aujourd¿hui dispersés, fragmentés ou perdus, dont: Os Índios Urubus, 1950; Funeral Bororo, 1953; Txukahamãe, 1955, et Jawari, 1957. C¿est la mémoire de ces films, la connaissance de leur art et de leur méthode de réalisation ethnographique que ce travail tâche de récupérer / Resumo: Esta pesquisa estuda o trabalho conjunto realizado pelo fotógrafo e cineasta Heinz Forthmann (1915-1978), brasileiro por opção, e pelo antropólogo Darcy Ribeiro (1922-1997) na Seção de Estudos, SE, do SPI. Criada em 1942 pelo indigenista Cândido Mariano da Silva Rondon, a SE tinha entre seus objetivos pesquisar e documentar em fotografia, cinema e gravação sonora, a vida, os ritos e as manifestações culturais dos povos indígenas do Brasil. As diretrizes de documentação etnográfica, criadas inicialmente por Harald Schultz, foram desenvolvidas, a partir de 1949, por Darcy Ribeiro, que buscou a integração entre pesquisas etnológicas, lingüísticas e a realização cinematográfica. Este ciclo de trabalho se estendeu até 1959, e gerou importantes filmes documentários que hoje se encontram dispersos, fragmentados ou perdidos, entre os quais: Os Índios Urubus, 1950; Funeral Bororo, 1953; Txukahamãe, 1955, e Jawari, 1957. É a memória desses filmes, o conhecimento de sua arte e método de realização etnográfica que este trabalho procura recuperar / Doutorado / Multimeios / Doutor em Multimeios

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-12-08T08:28:18Z No. of bitstreams: 2 Dissertação - Hugo Cardoso Brandão Peixoto - 2015.pdf: 16696524 bytes, checksum: a8e9d78dc110dcfd854c38cf730f163f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-12-08T08:31:13Z (GMT) No. of bitstreams: 2 Dissertação - Hugo Cardoso Brandão Peixoto - 2015.pdf: 16696524 bytes, checksum: a8e9d78dc110dcfd854c38cf730f163f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-12-08T08:31:13Z (GMT). No. of bitstreams: 2 Dissertação - Hugo Cardoso Brandão Peixoto - 2015.pdf: 16696524 bytes, checksum: a8e9d78dc110dcfd854c38cf730f163f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-04-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research has the intention to discuss documentary language expansion and its ramifications in cyberspace, focusing on webdocumentaries, analyzing the relationship between documentary traditions and new media narrative processes. In order to contextualize the new possibilities of documentary point of view representations, based on the multiple forms of contemporary audiovisual production, which, marked by continuous development of digital technologies, production and manipulation of images, form the broader context of new media. Founded on the creative freedom afforded by new media, documentary cinema widened, and with the tools of digital technologies, its creative process and its experimental possibilities have expanded. Generating new narrative patterns, which are powered at all times by new productions, resulting in the documentary field, a constant modification and development of its language. / Esta pesquisa tem como intuito, discutir a expansão da linguagem documental e suas ramificações no ciberespaço, com o foco nos webdocumentários, analisando a relação entre as tradições documentais e os novos processos narrativos midiáticos. Visando contextualizar as novas possibilidades de representação da ótica documental, com base nas múltiplas formas de produção audiovisual contemporâneas, que, marcadas pelo desenvolvimento contínuo das tecnologias digitais, de produção e manipulação das imagens, agregam o contexto abrangente das novas mídias. Em função da liberdade criativa proporcionada pelas novas mídias, o cinema documentário se ampliou, e com as ferramentas das tecnologias digitais, seu processo criativo e suas possibilidades de experimentação se expandiram. Gerando novos padrões narrativos, que são alimentados a todo instante pelas novas produções, provocando no campo documental, uma constante modificação e desenvolvimento de sua linguagem.

A presente pesquisa analisa e compara o processo criativo de dois filmes de Andrea Tonacci: Interprete Mais, Pague Mais (1974-1995) e Serras da Desordem (2006), com foco na relação do cineasta com os atores documentados, investigando a questão da encenação, performatividade e teatralidade. No primeiro filme, ao documentar a crise de um grupo de teatro, Tonacci explora a teatralidade inerente à realidade que documenta, resultando em uma presentificação que só existe através de seu registro cinematográfico. No segundo filme, ele encena a vida de um índio com o próprio índio, encontrando na reconstituição da vida do outro uma narrativa essencialmente autobiográfica. A comparação dos dois procedimentos visa ao confronto e a uma possível aproximação entre as diferentes formas de mise en scène/mise en présence no ato de filmar do cineasta, bem como a um entendimento das diferentes formas de encenar/presentificar o real no cinema de ficção e documentário. / This work analizes and compares the creative process of two films by Andrea Tonacci: Play More, Pay More (1974-1995) and Hills of Disorder (2006), focusing on the relationship between the filmmaker and the actors, by exploring the notions of staging, theatricality and performativity. On the first film, while showing the crisis faced by a theater group, Tonacci exposes the teatricality inherent to the reality portrayed, resulting in a presentification that only exists through his cinematic device. On the second film, by enacting the story of a native Brazilian, played by the native himself, he finds on the reconstruction of the life of the other a narrative that is essencially autobiographic. A comparison of the two procedures aims at the confrontation and possible approach of these two forms of mise en scène/mise en présence on the very act of filming, through an understanding of the diferent forms of staging/presenting the real on documentary and fiction films.

A pesquisa tem por objetivo investigar o processo de construção de personagens na produção documentária brasileira contemporânea a partir da noção de autorrepresentação do sujeito filmado, tendo como hipótese inicial a ideia de que o estatuto da personagem no filme se define a partir da tensão entre a performance da pessoa real, seu projeto de atuação e as estratégias enunciativas do autor. Partindo da apresentação de uma proposta de definição da autorrepresentação - que rejeita a premissa de que a encenação deva ser analisada dentro do binômio de verdade e falsificação - a pesquisa se desenvolve tendo como recurso fundamental a análise fílmica imanente. Foram selecionados quatro filmes brasileiros contemporâneos como corpus central de análise: Entreatos (João Moreira Salles, 2004), Juízo (Maria Augusta Ramos, 2007), Serras da Desordem (Andréa Tonacci, 2008) e Jogo de Cena (Eduardo Coutinho, 2007). As análises fílmicas se organizam a partir dos diferentes níveis de consciência dos sujeitos filmados em relação à própria performance e buscam investigar até que ponto essa consciência implica num maior ou menor nível de autenticidade. Conectando os dois eixos centrais de reflexão - do desempenho e das estratégias enunciativas que o transcendem - se coloca a questão que sintetiza o desafio maior da pesquisa: como avaliar o quão bem representada é uma pessoa? / The present study aims at investigating the character construction process in contemporary Brazilian documentary film production from the notion of self-representation of the filmed subject, sustaining as initial hypothesis the idea that the status of the character in the film is defined by the tension between the performance of the real person, his acting project and the enunciative strategies of the author. Starting with the presentation of a proposed definition of selfrepresentation - which rejects the assumption that acting should be analyzed within the binomial real or fake -, the research develops, relying on immanent film analysis as fundamental resource. We have selected four contemporary Brazilian films as the central analysis corpus: Entreatos (João Moreira Salles, 2004), Juízo (Maria Augusta Ramos, 2007), Serras da Desordem (Andrea Tonacci, 2008) and Jogo de Cena (Eduardo Coutinho, 2007). Filmic analysis is organized by the different levels of consciousness of the filmed subjects in relationship to their own performance and seeks to investigate to what extent this awareness implies a higher or lower level of authenticity. By connecting the two central axes of reflection - performance and the enunciative strategies that transcend it -, the question that synthesizes the major challenge of the research arises: how to evaluate how well a person is represented?

Orientador: Francisco Elinaldo Teixeira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T23:44:41Z (GMT). No. of bitstreams: 1 Yakhni_Sarah_D.pdf: 4719760 bytes, checksum: 513f712a278d5eaee58d9349fc0d5284 (MD5) Previous issue date: 2011 / Resumo: "Cinensaios de Varda: o documentário como escritapara além de si mesmo" é uma pesquisa sobre a produção documental de Agnès Varda, que se debruçasobre os seus filmes, tomando-os como objeto de estudo, no sentido de perceberquais são os procedimentos estilísticos que a realizadora lança mão naconstrução de suas narrativas. Primeiro fotógrafa, começou seu trabalho nocinema no contexto da Nouvelle Vague e a eclosão de novos paradigmas como atransparência do ato de narrar, a explicitação do ponto de vista, ainterferência direta do próprio realizador. Suas narrativas auto-referenciadas,incorporam características performáticas, reflexivas, poéticas, autobiográficase se contextualizam, num primeiro momento, dentro do universo do documentário modernodo pós-guerra, e vem afirmando a sua importância até os dias de hoje / Abstract: "Varda's cinessays: the documentary as a writing beyond itself" is a research on Agnès Varda'sdocumental production, which bends over her films, converting them into an object of study, in the sense of perceiving which are the stylistic procedures that the producer gives up in the construction of her narratives. Her workwith imagens started with the photography. She began her work in cinema inthe context of Nouvelle Vague and the eclosion of new paradigms such as thetransparency of the act of narrating, the explicitness of the viewpoint and thedirect interference of the producer herself. Her self-referenced narratives,incorporate performatic, reflexive, poetical, self-biographic charasteristicsand contexturize, in a first moment, within the universe of the modern post-wardocumentary and come affirming their importance up to today's moments / Doutorado / Multimeios / Doutor em Multimeios

This research examines the Civil Rights Movement in Tampa, Florida through documentary film to recognize an imperfect past and visually reconstruct Central Avenue as a physical and Thirdspace site of remembrance located at an intersection of race and community. Motivated by an ethnographic approach and through community engagement, Tampa Technique: Rise, Demise, and Remembrance of Central Avenue is a 54-minute film that explores Central Avenue’s rise to prominence through segregation, its physical and symbolic demise as a racialized site of communal space, and how it is remembered through collective and public memory in the location it once occupied. Documentary film provides an engaging platform to present research in a thoughtful and provocative way to recover lost histories that can inform audiences about structural and systematic inequalities that remain in overt and covert ways. The purpose of this written document supplements the film and takes issues of privilege, reflexivity, and subjectivity into account to interrogate tensions of “self” and “other” encountered during the film’s production and to translate how a visual representation of Central Avenue developed and unfolded as a present form of community participation and intervention through remembrance. The entire documentary is not available online due to copyright restrictions. However, a three-minute documentary trailer is available on Vimeo.