O estudo pesquisa a noção de cinema do crítico e realizador brasileiro Rogério Sganzerla (1946-2004). Para tanto, parte de seus textos publicados na imprensa, que começaram a ser escritos em meados dos anos 1960, até chegar aos filmes que realizou. Já no começo de sua carreira jornalística, Sganzerla escrevia textos que transcendiam a análise fílmica, buscava perceber tendências criativas e procurava compreender o que diferencia a arte cinematográfica das demais. Os anos 60, para ele, viviam num impasse: uma vertente buscava aproximar o cinema da \"arte\", e era de veia mais literária, introspectiva, intelectual; outra não se pretendia tão profunda, e encarava o cinema como uma arte provisória, que investiga as superfícies. Após a resolução desse impasse, ou seja, através da análise do diálogo entre o cineasta/crítico e a história do cinema (até chegar ao que lhe era contemporâneo), tentamos investigar as seguintes lacunas: 1) como um diretor e crítico que defende um cinema com linguagem própria consegue aglutinar outras linguagens em seus filmes? E 2) como funciona a presença do Brasil nos filmes de um diretor que se opõe à ideia de um cinema sociológico. / This dissertation presents a research on the film notion of the brazilian filmmaker and critic Rogério Sganzerla (1946 - 2004). To that end, we begin the study from his critical texts, which were published in the press around the 60\'s, until we get the movies he filmed. Since the beginning of his journalistic career, Sganzerla wrote texts which transcended the filmic analysis, attempted to recognize creative tendencies, and tried to understand the difference between film art and the other forms of art. The 60\'s were a sticking period for Sganzerla. One perspective tried to approximate cinema of \"art\" and it was characterized as literary, introspective, and intellectual. The other one, however, was not so insightful and analyzed cinema as a provisory art, which investigates surfaces. After this stalemate\'s resolution, that is, through the analysis of the dialogue between the filmmaker and the history of cinema, we intend to contribute investigating the following gaps: 1) how can a director and critic who defends a cinema with its own language can bring together other languages on his films? And 2) how it occurs the presence of Brazil in the films of a director who is opposed to the idea of a sociological cinema.

Submitted by LUÍS GERALDO ROCHA null (luis.geraldo21@hotmail.com) on 2017-11-07T12:32:58Z No. of bitstreams: 1 Dissertação - .pdf: 2325121 bytes, checksum: 1b2c60bc933f3094a795207665caef8e (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-11-21T13:35:57Z (GMT) No. of bitstreams: 1 rocha_lg_me_bauru.pdf: 2325121 bytes, checksum: 1b2c60bc933f3094a795207665caef8e (MD5) / Made available in DSpace on 2017-11-21T13:35:57Z (GMT). No. of bitstreams: 1 rocha_lg_me_bauru.pdf: 2325121 bytes, checksum: 1b2c60bc933f3094a795207665caef8e (MD5) Previous issue date: 2017-10-27 / Esta dissertação analisa o trabalho do crítico de cinema Ely Azeredo, a partir de um corpus de vinte e sete artigos sobre o cinema brasileiro publicados entre 1956 a 1973, nos periódicos cariocas Tribuna da Imprensa e Jornal do Brasil. Este recorte temporal foi delimitado levando em consideração as profundas transformações e manifestações fílmicas inovadoras que a cinematografia do país apresentou nesse período. Nessa fase, surge o Cinema Novo, influenciado pela Neorrealismo Italiano e pela Nouvelle Vague Francesa, cujo objetivo era realizar uma leitura a partir do seus filmes dos problemas sócio-políticos do Brasil. Paralelamente, o Cinema Marginal surge como contraponto ao Cinema Novo, alegando que o cinema nacional só poderia criar obras legitimamente brasileiras, a partir do momento em que aceitasse sua posição de subdesenvolvido, trabalhando todos os elementos do “dejeto industrial” que era despejado na cultura brasileira. Por fim, tem-se o advento das comédias eróticas, que seriam rotuladas, no futuro, como “pornochanchadas”, pois o gênero possuía caráter popular ao combinar a comédia de costumes e o erotismo. Durante esse período, o Brasil passou por um golpe militar, que depôs o então Presidente João Goulart, e, consequentemente, instaurou uma ditadura no país, que perdurou por 21 anos (1964-1985), fazendo com que a produção cinematográfica brasileira fosse afetada, direta ou indiretamente por esse cenário político. Com o propósito de investigar a construção de sentido em uma produção midiática específica, representada pelas críticas de Ely Azeredo, a metodologia adotada para a análise do corpus foi a Análise do Discurso de linha francesa. / This dissertation analyzes the work of the film critic Ely Azeredo, based on a corpus of twenty -seven articles on Brazilian cinema published between 1956 and 1973, in the Rio’s Tribuna da Imprensa and Jornal do Brasil periodicals. This temporal cut was delimited taking into account the profound transformations and innovative filmic manifestations that the cinematography of the country presented in that period. In this phase, Cinema Novo appears, influenced by Italian Neorealism and by the French Nouvelle Vague, whose objective was to make a reading from his films of the socio-political problems of Brazil. At the same time, Marginal Cinema emerges as a counterpoint to Cinema Novo, claiming that national cinema could only create legitimately Brazilian works, from the moment it accepted its underdeveloped position, working all elements of the "industrial plot" that was dumped in the culture Brazilian. Finally, one has the advent of erotic comedies, which would be labeled, in the future, as "pornochanchadas", since the genre had a popular character when combining comedy of customs and eroticism. During this period, Brazil underwent a military coup, which deposed the then President João Goulart, and, consequently, established a dictatorship in the country, which lasted for 21 years (1964-1985), causing Brazilian cinematographic production to be affected, directly or indirectly through this political scenario. In order to investigate the construction of meaning in a specific media production, represented by the critics of Ely Azeredo, the methodology adopted for the analysis of the corpus was the French Line Discourse Analysis.

O estudo pesquisa a noção de cinema do crítico e realizador brasileiro Rogério Sganzerla (1946-2004). Para tanto, parte de seus textos publicados na imprensa, que começaram a ser escritos em meados dos anos 1960, até chegar aos filmes que realizou. Já no começo de sua carreira jornalística, Sganzerla escrevia textos que transcendiam a análise fílmica, buscava perceber tendências criativas e procurava compreender o que diferencia a arte cinematográfica das demais. Os anos 60, para ele, viviam num impasse: uma vertente buscava aproximar o cinema da \"arte\", e era de veia mais literária, introspectiva, intelectual; outra não se pretendia tão profunda, e encarava o cinema como uma arte provisória, que investiga as superfícies. Após a resolução desse impasse, ou seja, através da análise do diálogo entre o cineasta/crítico e a história do cinema (até chegar ao que lhe era contemporâneo), tentamos investigar as seguintes lacunas: 1) como um diretor e crítico que defende um cinema com linguagem própria consegue aglutinar outras linguagens em seus filmes? E 2) como funciona a presença do Brasil nos filmes de um diretor que se opõe à ideia de um cinema sociológico. / This dissertation presents a research on the film notion of the brazilian filmmaker and critic Rogério Sganzerla (1946 - 2004). To that end, we begin the study from his critical texts, which were published in the press around the 60\'s, until we get the movies he filmed. Since the beginning of his journalistic career, Sganzerla wrote texts which transcended the filmic analysis, attempted to recognize creative tendencies, and tried to understand the difference between film art and the other forms of art. The 60\'s were a sticking period for Sganzerla. One perspective tried to approximate cinema of \"art\" and it was characterized as literary, introspective, and intellectual. The other one, however, was not so insightful and analyzed cinema as a provisory art, which investigates surfaces. After this stalemate\'s resolution, that is, through the analysis of the dialogue between the filmmaker and the history of cinema, we intend to contribute investigating the following gaps: 1) how can a director and critic who defends a cinema with its own language can bring together other languages on his films? And 2) how it occurs the presence of Brazil in the films of a director who is opposed to the idea of a sociological cinema.

Raymond Queneau, né en 1903, grandit et vit au rythme du cinématographe, à peine plus âgé que lui. Toute sa vie il rendra compte dans ses écrits intimes, journaux et lettres, de sa vie de spectateur assidu au Havre, puis à Paris. Il peuplera sa langue, sa poésie et ses romans, de l’univers foisonnant des salles de cinéma, des stars de l’écran et de ses œuvres mythiques. Il fera apparaître un monde rêvé et pensé, fait de ses ombres et de sa lumière. Nourri de cinéma, il sera aussi nourri par lui. Parallèlement à son travail de poète en littérature, il pratiquera tout au long de sa vie, et sans jamais se défaire de son humour légendaire, le travail, parfois ingrat, d’écrivain de cinéma, art dans lequel il occupera plusieurs postes : critique cinématographique, juré de festivals, auteur de commentaires de films, scénariste, dialoguiste, auteur de chansons… A l’occasion, il deviendra même réalisateur ou acteur. Rendre compte de manière chronologique puis analytique de l’ensemble de ses travaux, appréhender le traitement de l’art cinématographique dans son œuvre littéraire, c’est ce que se propose cet ouvrage : partir à la recherche de Raymond Queneau, écrivain du vingtième siècle et « homo-cinématographicus ». / Raymond Queneau, who was born in 1903, grew up and lived at the pace of cinematograph that was hardly older than him. Througout his life, in his journals and letters, he reported his life as a regular movie-watcher. He filled his writings, his poetry and his novels with the blossoming universe of movie theatres, movie stars and masterpeices. In his work appears a dreamed and thougt out world, made of his shadows and his lights. Fed with cinema, he also fed it. Aside from his work as a poet in literature, he also, all along his life and without losing his legendary sense of humour, worked as a cinema writer. In this sometimes ungrateful job, he occupied many different positions : film critic, juryman in festival, writer of comments on movies, script writer, dialogue writer, songwriter, etc... He even occasionally became a filmmaker or an actor. To report chronologically of the totality of his work, to approach the treatment of the cinematographic art in his literary work, is what we suggest in this study : looking for Raymond Queneau writer of the twentieth century and “homo-cinematographicus”.

This thesis aims to explore the influences and references, with a particular focus from occultism and western esotericism, found in the film trilogy of The Three Mothers directed by Dario Argento. The trilogy composed of Suspiria, Inferno and The Mother of Tears was produced in a timeframe of thirty years from 1977 to 2007, so it embeds three decades, it also reflects the willingness from the director to disconnect himself from the usual representation of supernatural and horror films of witches and power. The three films Suspiria, Inferno and The Mother of Tears, present an innovative point of view, first of all, the representation of power in the context of horror and secondly, for the nature of references distributed throughout the trilogy. This thesis presents a film analysis of Suspiria, Inferno and The Mother of Tears investigating the semiotics behind the symbols, storytelling, characters, and technical aspects of film production. This work concludes that the deep desk research conducted by Argento on occultism and western esotericism before engaging into the production has deeply influenced it. The references to occultism, western esoteric schools, Steiner and alchemic influences are several, Christianity is also present in the trilogy with a dystopic lent. There is also a gender aspect analysed in the trilogy connected with the representation of feminine power, as the mothers in the trilogy represent witches, a supreme independent source of truth and power disconnected from any Christian and/or masculine representation. Suspiria, Inferno and The Mother of Tears can be then interpreted as a way to challenge the patriarchate power. This thesis is opening with the relevance of references from occultism to be found in several expressions of popular culture in our contemporary society. However, this aspect has not been investigated further than that. It has been utilized to serve the purpose of highlighting the elements in common between Argento’s trilogy and those expressions of popular culture (i.e. horror and supernatural TV series). If this research will be one day extended, the next step would be to find, in other expressions of popular culture (films, manga, graphic novels…), references in line with the ones traced in the trilogy. This would lead to investigate further the way occultism has influenced expressions of art and culture. Another point that is kept for a potential future research, would be to investigate which other examples of horror and supernatural films will be produced (or had been produced), where power and feminine representation breaks the traditional tendency of connecting power either with a Christian notion of evil or with a patriarchal form of power. In this regard, I am sure expressions from Artificial intelligence will come to play a role, but this is due maybe for the future, and maybe for another research to connect these dots.

Opinião (1972-1977) é um dos mais importantes jornais da imprensa alternativa. O semanário nasceu para fazer a oposição ao regime militar através da união entre várias tendências políticas, na chamada Frente Ampla. Mesmo com forte censura, surgiu um tipo de crítica progressista caracterizada pelo profundo debate político e estético. A discussão do cinema não era feita só do ponto de vista da estética, mas também como imperativo político contra o regime militar. Analisamos as metodologias dos críticos Jean-Claude Bernardet, Sérgio Augusto, Marcos Ribas de Farias, Gustavo Dahl, José Carlos Avellar e Clóvis Marques para observar como cada um deles articula nos textos os imperativos da estética e da política. Na recepção aos filmes, algumas temáticas estão sempre presentes: o papel do intelectual, a discussão sobre a cultura popular e a linguagem cinematográfica mais adequada para conquistar o público brasileiro. O objetivo da tese é avaliar como os críticos reelaboram e reconstroem um projeto político e estético para o cinema brasileiro nos anos setenta. Nas disputas internas do jornal, é possível também acompanhar como as questões da resistência cultural se fazem presentes no cotidiano dos críticos de cinema. / Opinião (1972-1977) is one of the most important newspapers of the underground press. The weekly was born to do the opposition to the military regime through the union of many political tendencies, the so-called Broad Front. Even with strong censorship it came\'s a kind of progressive criticism characterized by deep political and aesthetic debate. The film discussion was made not only from de aesthetic point of view, but also as a political imperative against the military regime. We analyze the methodologies of film critics Jean-Claude Bernardet, Sérgio Augusto, Marcos Ribas de Farias, Gustavo Dahl, José Carlos Avellar and Clóvis Marques to observe how each one articulated in the texts the aesthetics and politics imperatives. At the reception of movies, some issues are always present: the role of the intellectual, the discussion about popular culture and the most appropriate language film to win the Brazilian public. The aim of this thesis is to assess how critics reconstruct and rebuild a political and aesthetic project for the Brazilian cinema in the seventies. In the internal disputes of the newspaper, we can also follow how the cultural resistance matters are present in the routine of film critics

Opinião (1972-1977) é um dos mais importantes jornais da imprensa alternativa. O semanário nasceu para fazer a oposição ao regime militar através da união entre várias tendências políticas, na chamada Frente Ampla. Mesmo com forte censura, surgiu um tipo de crítica progressista caracterizada pelo profundo debate político e estético. A discussão do cinema não era feita só do ponto de vista da estética, mas também como imperativo político contra o regime militar. Analisamos as metodologias dos críticos Jean-Claude Bernardet, Sérgio Augusto, Marcos Ribas de Farias, Gustavo Dahl, José Carlos Avellar e Clóvis Marques para observar como cada um deles articula nos textos os imperativos da estética e da política. Na recepção aos filmes, algumas temáticas estão sempre presentes: o papel do intelectual, a discussão sobre a cultura popular e a linguagem cinematográfica mais adequada para conquistar o público brasileiro. O objetivo da tese é avaliar como os críticos reelaboram e reconstroem um projeto político e estético para o cinema brasileiro nos anos setenta. Nas disputas internas do jornal, é possível também acompanhar como as questões da resistência cultural se fazem presentes no cotidiano dos críticos de cinema. / Opinião (1972-1977) is one of the most important newspapers of the underground press. The weekly was born to do the opposition to the military regime through the union of many political tendencies, the so-called Broad Front. Even with strong censorship it came\'s a kind of progressive criticism characterized by deep political and aesthetic debate. The film discussion was made not only from de aesthetic point of view, but also as a political imperative against the military regime. We analyze the methodologies of film critics Jean-Claude Bernardet, Sérgio Augusto, Marcos Ribas de Farias, Gustavo Dahl, José Carlos Avellar and Clóvis Marques to observe how each one articulated in the texts the aesthetics and politics imperatives. At the reception of movies, some issues are always present: the role of the intellectual, the discussion about popular culture and the most appropriate language film to win the Brazilian public. The aim of this thesis is to assess how critics reconstruct and rebuild a political and aesthetic project for the Brazilian cinema in the seventies. In the internal disputes of the newspaper, we can also follow how the cultural resistance matters are present in the routine of film critics

Cette thèse se présente comme une histoire et une analyse de l’émergence de la critique francophone de cinéma à Montréal, entre 1920 et 1931. Elle cherche à comprendre comment se forme le champ de la critique cinématographique au Québec, ainsi qu’à exposer la polysémie du discours à l’intérieur duquel sont formulés ses énoncés. La méthodologie emprunte à la théorie des champs de Pierre Bourdieu, aux principaux historiens de la critique de film, et aux études sur l’histoire culturelle du Québec. L’hypothèse initiale est qu’étant apparue dans les journaux de masse, dans les années 1920, plutôt que dans les revues spécialisées (comme ce fut le cas notamment en France et aux États-Unis), la critique cinématographique québécoise est développée par des journalistes culturels venus d’autres disciplines (principalement de la musique et du théâtre) et qui s’adressent davantage à un public populaire large et varié qu’à un auditoire restreint de cinéphiles. Cette situation particulière favorise ainsi l’émergence d’une critique vernaculaire qui navigue en sortant des étroits paramètres imposés par le clérico-nationalisme, mais dont la liberté est balisée par une presse privée répondant aux lois du marché. Elle doit également osciller entre un intérêt marqué des journalistes pour la culture française, et une presqu’hégémonie du cinéma étatsunien dont la majorité des œuvres visent bien davantage le divertissement populaire que la recherche narrative, artistique ou esthétique. De plus, puisque la production cinématographique canadienne est alors plutôt marginale, les journalistes culturels ne peuvent avoir véritablement d’incidence sur la nature des œuvres presque toutes réalisées aux États-Unis ou en Europe. Ils peuvent toutefois avoir un impact sur les spectateurs et spectatrices, ainsi que sur plusieurs enjeux liés à la diffusion. Ces journalistes développent tout de même une réflexion pertinente sur le cinéma et sur les films, tout en gardant une distance par rapport aux polémiques qui animent la critique étrangère, qu’ils connaissent et lisent pourtant. Il en résulte un discours sur le cinéma propre à cette époque, et révélateur de la situation spécifique du Québec. / This PhD dissertation is a history and an analysis of the francophone film criticism genesis in Montreal, between 1920 and 1931. It aims to understand how the field of film criticism is formed in Quebec, as well as to expose the polysemy of its discourse. The methodology chosen borrows from the Pierre Bourdieu’s theory of fields, from the leading historians of film criticism, and from studies on Quebec’s cultural history. The initial hypothesis is that since it was first published in mass newspapers in the 1920s instead of specialized journals (as it was the case in France and the United States as examples), the Quebec film criticism was developed by cultural journalists from other disciplines than cinema (mainly music and theatre) and was intended to a broad and diverse popular audience rather than to a small audience of cinephiles. This situation has favoured the emergence of a vernacular film criticism that takes its distance from the narrow parameters imposed by the “clerico-nationalism”, and whose freedom is limited by a press dealing with the market laws. It must also waver between the interest of the journalists for French culture and the American cinema hegemony whose movies aimed to be much more popular entertainment instead of being narrative, artistic or aesthetic experimentations. Moreover, since Canadian film production is rather marginal, local cultural journalists cannot really have an impact on the nature of the films mainly produced in the United States or in Europe. However, they can have an impact on viewers, as well as on several issues related to broadcasting. These journalists, nevertheless, developed a relevant reflection on cinema and films, while keeping a distance from the main controversies that were driving foreign criticism, although they know and read them. The result was a discourse on cinema peculiar to that time and revealing the specific situation of Quebec.

Source majeure de l’histoire du cinéma, la presse cinématographique française des premiers temps reste pourtant encore un vaste continent à explorer. À partir d’un corpus composé de douze revues couvrant la période de 1908 à 1940, cette recherche entreprend d’étudier les facteurs à la fois techniques, économiques et sociaux de la naissance et de l’évolution de la presse cinématographique française sur trois décennies. Envisagée en tant qu’entreprise de presse, dans sa dimension collective, chaque revue fait l’objet d’une étude méthodique de son identité, de ses spécificités, ainsi que des différentes mutations, administratives, techniques, économiques, formelles et éditoriales, subies. L’ambition première de cette thèse est de proposer une histoire autant de la presse que des journalistes. Elle aspire ainsi à définir la profession de journaliste et de critique de cinéma, telle qu’elle est perçue à l’époque par la corporation du cinéma ainsi que les journalistes et critiques eux-mêmes. La définition de cette fonction se fait également à travers la création de groupements professionnels, dont cette recherche espère avoir éclairé l’histoire et les péripéties qui la jalonnent. Le dessein poursuivi par ailleurs est de contribuer à une meilleure connaissance des hommes, journalistes et critiques, encore méconnus pour la plupart mais qui ont pourtant été des figures marquantes de leur époque, qui ont participé à la création de la presse spécialisée et à l’élaboration d’une pensée et d’une critique cinématographiques dans les années 1900-1930. / A major source for history of cinema, the early French film press however still remains a vast, unexplored continent. With a body of research composed of twelve film magazines spanning over the 1908-1940 period, this thesis aims to study the technical, economical and social factors involved in the birth and evolution of the French film press over three decades. Contemplated as a press organization, in its collective dimension, each film magazine is subject to a methodical study of its identity, specifications and various mutations – administrative, technical, economical, formal and editorial – incurred. The main ambition of this thesis is to propose a history of press as well as of journalists. The study thus aims to define the profession of journalist and film critic, as it is perceived in this period by the film corporation and the journalists and critics themselves. This fonction also defines itself through the creation of professional associations, the history and adventures of which this research hopes it has illuminated. The pursued purpose is also to contribute in a better knowledge of the men, journalists and critics, remaining mainly unrecognized to this day despite being major figures of their time, who participated in the creation of the specialized press and the formulation of a critical thought about cinema, in the 1900s-1930s.