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This study examines how propaganda imagery was used to reveal metaphors of health and disease in Nazi Germany from 1933 to 1945. Specifically, it explores how German medical and political authorities of this period entrenched biological explanations for social ills through medico-political discourses of disease, criminality and deviancy, in their efforts to exterminate particular populations. This propaganda was conversed with the idealised and beautified German Volk who, in turn, were graphically elevated to the realms of a supreme master race. I use a methodology composed of compositional and discourse analysis, and a theoretical framework that develops the work of Erving Goffman. These frameworks were applied to a range of images from a sample of propagandist movies, published within the time-frame, in order to illuminate how the German medical establishment sought to realise the juxtaposition of both promoting life and administering death. Findings suggest that the biological categorising and subjective measuring of individuals was a modernistic philosophy. Extensive use of metaphors resulted in a widening range of stigmas which needed medical intervention to maintain normality and social order whilst purifying and cleansing the body politic. The study advances the understanding of the relationship between the discourses of health and disease with an in-depth sociopolitical study of imagery, asking why it was used to legitimate and nationalise social inequality in the context of Nazi Germany. It further offers a new socio-filmic model for future use when analysing moving imagery in the sociohistorical field. These two advances therefore provide novel contributions to the sociology of public health and social methods.

This study compares independent films from different countries (Turkey, Denmark, Iran and Spain) in a transnational context. Making use of schizoanalytic concepts, it presents an analysis of filmic space in relation to character construction in the internationally acclaimed contemporary films: Ten (Abbas Kiarostami, 2002), Talk to Her (Pedro Almodóvar, 2002), Two Girls (Kutluğ Ataman, 2005), Allegro (Christoffer Boe, 2005), The Others (Alejandro Amenábar, 2001), Destiny (Zeki Demirkubuz, 2006), Offside (Jafar Panahi, 2006), Dogville (Lars von Trier, 2003) and Climates (Nuri Bilge Ceylan, 2006). I argue that these films are feminist texts, in which becoming-woman of the female character deterritorializes the patriarchal ideal of home(land) as a political statement. In the above listed films filmic space is never configured as a harmonious unity of a righteous woman and a peaceful home. Despite the pervading homelessness, the female characters turn the male dominated public space into a habitable place through the filmic assemblages with space, objects and other characters. I also argue that the homelessness and the problematic connection between the female character and the storyworld posits a metaphor for the disconnection between the auteur-filmmakers and their home(land)s.

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Esta dissertação tem como foco central uma reflexão sobre a interface entre cinema e antropologia. A partir disso, o objeto da nossa reflexão é a obra fílmica Trilogia das Cores, do diretor polonês Krzysztof Kielowski (1941-1996), produzida entre 1992 e 1994, na França, Polônia e Suíça. Esses filmes têm como contexto histórico-político de produção e filmagem a comemoração do bicentenário da Revolução Francesa, a assinatura do tratado que instituía a União Europeia e a derrocada do leste comunista. No entanto, esses fatos e questões apenas tangenciam os longas-metragens, que se preocupam mais em seguir seus protagonistas, seus dramas e suas dúvidas. A partir da metodologia da análise fílmica e da descrição detalhada dos longas-metragens, queremos articular a obra com determinadas discussões antropológicas, como a questão da experiência, da mimesis e da narração em relação ao cinema, bem como com questões éticas, políticas e históricas que perpassam os filmes e, portanto, nossa análise. Em um primeiro momento, buscamos refletir mais propriamente as dimensões temáticas da obra Trilogia das Cores, caracterizando o estilo do diretor e a invenção de uma Europa e de uma ética iluminista no mundo contemporâneo. Em um segundo momento, este trabalho concentra-se em investigar as associações possíveis entre o cinema e os conceitos benjaminianos de experiência, mimesis e narração. Nesse sentido, procuramos, em um nível mais abstrato da discussão teórico-metodológica, aprofundar as interpretações acerca dos filmes nas questões sensoriais e nas formas de envolver e trabalhar a linguagem fílmica com o intuito de provocar e transmitir uma experiência ao/no espectador. Assim, esta dissertação volta seu olhar, sobretudo, para os cruzamentos e as relações entre o pensamento cinematográfico e a análise antropológica, a fim de pensar a mediação do cinema, suas formas e potências, a partir das noções de mimesis e narração. / This dissertation has as central focus a reflection about the interface between cinema and anthropology. From this, the object of our reflection is the filmic work Three Colours, by Polish director Krzysztof Kielowski (1941-1996), produced between 1992 and 1994 in France, Poland and Switzerland. The historical and political context of the production and the filming of these films involve the bicentenary of the French Revolution, the signing of the treaty that established the European Union and the collapse of the communist east. However, these facts and issues only touch the films, which are more concerned about following their protagonists, their dramas and doubts. From the methodology of film analysis and a detailed description of the feature films, we intend to articulate the work with certain anthropological discussions, such as the question of experience, mimesis and narrative in relation to the cinema, as well as the ethical, political and historical questions that pervade the trilogy, and therefore our own analysis. At first, we search to reflect on the thematic dimensions of the work of Three Colours, provind a characterization of the style of the director and the invention of a Europe and of an Enlightenment ethic in the contemporary world. Secondly, we investigate the possible association between the films and the Walter Benjamins concepts of experience, mimesis and narration. Thus, on a more abstract level of theoretical and methodological discussion, we seek to deepen the interpretations of the films on the sensory issues and ways to engage and deal with the film language in order to provoke and transmit an experience into the spectator. So, this dissertation focuses especially on the crossroads and the relationship between the cinematographic thought and anthropological analysis, in order to think about the mediation of cinema, its forms and powers, from the notions of mimesis and narration.

La thèse ci-après présente une étude de films amateurs, fournis par le Centre National d'Audiovisuel au Luxembourg, dit CNA. Elle examine certaines notions de sens et d’interprétation en l’absence de métadonnées et du contexte d'origine. Plutôt que de prendre le film amateur comme genre ou pratique à part, cette étude porte sur le seul langage cinématographique. La première partie de ce travail identifie ainsi des modes filmiques hautement différenciés et interprétés à partir des images. Sans contexte original, ces films perdent leur principale source de signification, à savoir les commentaires fournis par les membres de la famille. En effet, la projection du film dans le cercle familial interpelle les souvenirs et donne lieu à l’explication des évènements reproduits. La présente thèse examine ces images comme vestiges d'une narration visuelle plutôt qu'en termes de récit de souvenirs. Elle adopte le point de départ très simple que ce qui est filmé était important pour les cinéastes. De plus, elle examine comment le langage filmique peut servir comme illustration des intentions et motivations, à la fois volontaires et involontaires. Y suit l’examen des différents styles employés dans les films amateurs. J’attire l’attention sur la codification culturelle sous-jacente à la pratique de représentation dans le privé, qui prend la langue filmique comme moyen d'auto-narration. La deuxième partie aborde les films amateurs comme moyen d’expression primitif d’une tentative de signification qui implique le chercheur et sa propre expérience. La projection des films est constitutive de ce processus d'entrée en signification / The following thesis presents an examination of privately produced amateur films taken from the Amateur Film Archive in the Centre National d’Audiovisuel in Luxembourg. It analyzes how amateur films present a filmic world and examines specific notions of meaning generation without meta-data and original context. Rather than take amateur film as a homogenous genre or practice, this study concentrates on film language. The first part of the following two-fold engagement with these filmic worlds thus identifies the highly differentiated filmic modes that can be read from theimages. A filmic mode is related to as a concomitance of style and choice in subjectmatter. Without original context, these films lose their most important means ofmeaning generation, namely the recollective narratives that are constructed by theintended audience in the viewing situation. This work takes these images as remnantsof a visual narration rather than in terms of recollective narratives. It operates from the very simple basis that how the camera was used can serve as illustration of underlying intentions and motivations—both intended and inadvertent. The first partof this study then focuses on the diversification within the images and reads concomitant cultural codifications that structure representational productions in the private and also analyzes film language as means of self-narration. The second part of this two-fold engagement explores filmic language in terms of a visualization of primordial signifying expression coming-into-being. This engagement extends to include the researcher and his/her own background as co-constitutive part of this process of primordial meaning

Depuis une vingtaine d’années, le scénario américain s’est imposé comme modèle du scénario de fiction auprès des acteurs de la production de cinéma et de télévision pour sa performance et sa rationalité narratives. Conçu pour assurer au film de fiction le maximum de chance de succès, il subordonne la création audiovisuelle à un dispositif narratif assurant l’identification du spectateur et sa satisfaction émotionnelle. Or, eu égard à une ambition artistique du cinéma, sa légitimité est problématique. La présente recherche développe une alternative à la formalisation narrative du film à travers un mode de scénarisation qui subordonne la narration au discours filmique. L’identification au personnage y compte moins que l’expression d’une vision-audition du monde. / Since about twenty years, the American screenplay stood out as model of the script of fiction into cinema and TV production for its narrative performance and its rationality. Designed to insure public success to fiction movies, it subordinates the audiovisual creation to the narrative device, insuring identification of the spectator and its emotional satisfaction. But, in consideration of the artistic ambition of the cinema, its legitimacy is problematic. The present research develops an alternative in the narrative formalization of the movie through a mode of « scénarisation » which subordinates the story to the cinematic discourse. The identification of spectator to the character matters there less than the expression of a vision-hearing of the world.

The multiple authorship view for film is the claim that multiple authors exist for almost any given film. This view is a recent development in opposition to the longstanding single authorship view which holds that there is only one author for every film, usually the director. One of the most often-cited reasons in support of the multiple authorship claim is that multiple authorship views more successfully explain the following fact about filmmaking better than single authorship views: filmmakers’ intentions sometimes conflict with each other during the production of a film. However, since multiple authorship views cannot adequately explain how a single filmic utterance can result from conflicting intentions, I want to argue that the single authorship view should be reinstated in those special cases where two or more agents are involved in the production of a filmic utterance and where the intentions of those agents are incompatible.

Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-05-21T11:54:31Z No. of bitstreams: 1 Arquivototal.pdf: 3617111 bytes, checksum: 59d300b8e8165ce097e99a4bf569b992 (MD5) / Made available in DSpace on 2018-05-21T11:54:31Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3617111 bytes, checksum: 59d300b8e8165ce097e99a4bf569b992 (MD5) Previous issue date: 2017-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The visual image has been configured as one of the crucial points of the contemporary society's culture. As such, it has been positioned as a possibility of activating, articulating and producing educational practices in school and non-school contexts, mediating the appropriation of historically accumulated knowledge. In such scenario, cinema appears as a visual artifact qualified to realize this process. According to the spirit of this historical movement, the present study proposes to carry out an investigation on the discourse of filmic creation as school knowledge’s learning mediation. It is a research of an analytical-descriptive character, situated within the scope of qualitative investigations. The theoreticalmethodological approach adopted is Michel Foucault's Archaeological Analysis of Discourse (AAD) (2008). Based on the analysis of the texts produced in the context of the project Inventar com a Diferença, promoted by the Human Rights Secretariat of the Presidency of the Republic (SDH / PR) and the Fluminense Federal University (UFF), the research identified the enunciative correlates that compose the discursive order of filmic creation as school knowledge’s learning mediation. It was verified that the proposal of this project puts into circulation a series of enunciative correlations that gives visibility to the use of cinema as an art in the school and as a learning device about human rights knowledge. These correlations are transversely involved in the specific network of school knowledge through pedagogical strategies and filmic creation devices. In this scenario, the student occupies the position of subject of rights and producer of knowledge through the experience of artistic creation, as the teacher occupies the position of mediator of the creative process, promoting a collaborative, contextualized and emancipating educational practice. We conclude that the given order of discourse is organized in the correlation of three discursive modalities: artistic, legal and educational, constituting an enunciative field articulated in the nexus between the domains of ethics, aesthetics, politics and communication. Among the statements that have a status in this discursive order, we point out: the use of cinema as art in school as an emancipatory educational practice; the valorization of diversity and difference as guiding principles of an educational process that addresses the issue of the otherness of self, of other and of world through the cinema; the mobilization of cinema workshop as a device to carry out film creation in school context; and the practice of collaborative film creation as a pedagogical strategy for the acquisition of sensibilities and values related to the culture of human rights. / A imagem visual tem se configurado como um dos pontos cruciais da cultura da sociedade contemporânea. Como tal, ela tem sido posicionada como uma possibilidade de acionar, articular e produzir práticas educativas escolares e não escolares mediadoras da apropriação do saber historicamente acumulado. Nesse cenário, o cinema aparece como um artefato visual qualificado para efetivar esse processo. Inserido no espírito desse movimento histórico, o presente estudo se propôs a fazer uma investigação sobre o discurso da criação fílmica como mediação da aprendizagem do saber escolar. Trata-se de uma pesquisa de caráter analíticodescritivo, situada no âmbito das investigações qualitativas. A abordagem teóricometodológica adotada foi a Análise Arqueológica do Discurso (AAD), de Michel Foucault (2008). Por meio da análise dos textos produzidos no contexto do projeto Inventar com a Diferença, promovido pela Secretaria de Direitos Humanos da Presidência da República (SDH/PR), e a Universidade Federal Fluminense (UFF), identificamos os correlatos enunciativos que integram a ordem do discurso da criação fílmica como mediação da aprendizagem do saber escolar. Verificamos que a proposta do referido projeto põe em circulação uma série de correlações enunciativas que conferem visibilidade ao uso do cinema como arte na escola, como dispositivo de aprendizagem de saberes relativos aos direitos humanos, e envolve-os, de modo transversal, na trama específica dos saberes escolares por meio de estratégias pedagógicas e dispositivos de criação fílmica. Nesse cenário, o estudante ocupa a posição de sujeito de direitos e produtor de conhecimentos, através da experiência da criação artística, e o professor, a posição de mediador do processo criativo, promovendo uma prática educativa colaborativa, contextualizada e emancipadora. Concluímos que a ordem do discurso em tela se organiza na correlação de três modalidades discursivas: a artística, a jurídica e a educacional, e constitui um campo enunciativo articulado no nexo entre os domínios da ética, da estética, da política e da comunicação. Dentre os enunciados que têm um status nessa ordem discursiva, destacamos: o uso do cinema como arte na escola como uma prática educativa emancipadora; a valorização da diversidade e da diferença como princípios orientadores de um processo educativo que aborde a questão da alteridade de si, do outro e do mundo através do cinema; a mobilização de oficinas de cinema como dispositivo para a efetivação da criação fílmica no contexto escolar; e a prática da criação fílmica colaborativa como estratégia pedagógica para a aquisição de sensibilidades e valores ligados à cultura dos direitos humanos.