Thesis (Ph. D.)--University of Wisconsin--Madison, 1921. / Typescript. Includes glossary and index of the manuscript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaugural-Dissertation--Georgia-Augusta-Universität zu Göttingen, 1931.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1923. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves i-ix).

Inaugural-Dissertation--Georgia-Augusta-Universität zu Göttingen, 1931.

Orientador: Francisco Elinaldo Teixeira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Campinas / Made available in DSpace on 2018-08-14T18:12:04Z (GMT). No. of bitstreams: 1 Bonotto_Andre_M.pdf: 1682639 bytes, checksum: b1eec344d3f7976da64393502e4eff35 (MD5) Previous issue date: 2009 / Resumo: Este é um trabalho de análise fílmica da trilogia Qatsi (Koyaanisqatsi, owaqqatsi, aqoyqatsi), dirigida por Godfrey Reggio. É apresentada de início uma bio-filmografia do diretor, indicando sua trajetória e comentando um pouco sobre cada um de seus filmes. A seguir passa-se à análise dos filmes da trilogia, abordando-se primeiro Koyaanisqatsi, quanto aos movimentos de aceleração realizados ao longo das passagens fílmicas, decorrentes principalmente da captação de imagens aceleradas, da movimentação de câmera, e da relação imagem-música. É analisado então Powaqqatsi, discutindo-se um elemento fabulativo que envolve o filme: tanto os povos representados nele, quanto o próprio processo de realização fílmica. Passa-se à análise de Naqoyqatsi, apontando-se a diversidade de materiais visuais utilizados, com o predomínio das imagens técnicas, midiáticas, e virtuais, e sua relação no choque entre dois impulsos contrários, um de caos e o outro de controle. Após essa primeira parte são retomadas as questões principais trabalhadas em cada filme, observando-se a relação de cada uma com os outros filmes - o universo de toda a trilogia. Abre-se com isso o horizonte inicial, relacionando-se então os filmes da trilogia Qatsi com filmes do movimento das sinfonias da cidade, através de relações estéticas, e de algumas relações temáticas. Por fim, expande-se um pouco mais o horizonte do trabalho, identificando-se características dos filmes analisados com elementos oriundos da intersecção dos domínios do cinema documentário com o do cinema experimental, como as constantes fragmentações das narrativas e anamorfoses das imagens. A intersecção desses domínios possibilitaria a existência da estilística fílmica designada como documentário poético, o que se considera ser o caso dos filmes abordados neste trabalho. / Abstract: This work is a filmic analysis of the Qatsi trilogy (Koyaanisqatsi, Powaqqatsi, Naqoyqatsi), directed by Godfrey Reggio. Firstly, it is presented a bio-filmography of the director, indicating his trajectory and some comments on each of his films. Then, the analysis of the trilogy takes place, beginning with Koyaanisqatsi and focusing the acceleration movements along the filmic passages, mainly due to the registration of accelerated images, camera movement and music-image relationship. The Powaqqatsi analysis involves the discussion of the fabulative element present in the film: on the people and actions represented as well on the own filmmaking process. During the Naqoyqatsi analysis, it has been pointed out the diversity of visual materials used, in which dominate technical, mediatic and virtual images, and their relation with the shock of two opposite impulses, i.e. chaos and control. Further, the major issues focused in each film are again considered, taking into account their relations with the other films - the universe of the whole trilogy. The opening of the initial horizon occurs relating the films of the Qatsi trilogy with those of the movement of the city symphonies, through aesthetic and some thematic relationships. Finally, it is performed a further expansion of the initial horizon, identifying characteristics of the films analyzed with elements originated from the intersection of the documentary and experimental film domains, like the frequent narratives fragmentation and anamorphic image fluxes. The intersection of these fields would allow the characterization of the filmic stylistics known as poetic documentary, that is considered to be the case of the films here analyzed. / Mestrado / Mestre em Multimeios

In the fourteenth century Jacques de Longuyon popularized the theme of the nine worthies in his poem Les Voeux du Paon. Gofrey of Bouillon, Duke of Lower Lorraine and Protector of the Holy Sepulchre, was the last of the Christian Worthies in the poem. In his life and legends he exemplified the medieval world's heroic ideal. His achievement, the recovery of the Holy City for Christianity, was the pinnacle-the crowning glory-for the western world. By examining the historical fact of Godfrey's life and comparing it to legends and artistic renderings of that life, one can learn more about the time during which he lived and the people of which he was a part.

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Este documento de tesis aborda como problema de investigación la interacción de la música y la imagen en la construcción del significado del film documental Koyaanisqatsi (1982). En nuestra investigación, Koyaanisqatsi representa un problema de investigación en sí mismo en tanto, por un lado, tiene cualidades poco convencionales o experimentales que corresponden a un modo poético de realización documental y, por otro lado, el film deja abierta la posibilidad a múltiples interpretaciones pues, como indica su director, Godfrey Reggio, depende del espectador encontrar el significado del film y completarlo. La música y la imagen representan los principales estímulos que componen este film, de manera que nuestra aproximación metodológica consiste en la observación, escucha y análisis de los componentes constitutivos de la música y la imagen del film con la finalidad de comprender cómo éstas, en su combinación, o interacción, construyen el significado de la obra audiovisual. La investigación revela relaciones entre música e imagen cuyas características construyen en el film la representación audiovisual de una sociedad contemporánea occidental en decadencia y autodestrucción, donde el ser humano, inmerso en un mundo moderno y tecnológico, se muestra alienado y deshumanizado, en oposición a un mundo ancestral de quietud, contemplación y equilibrio con la naturaleza majestuosa que el film pone en vigencia. / This thesis addresses as a research problem the interaction of music and image in building the meaning of documentary film Koyaanisqatsi (1982). In our research, Koyaanisqatsi is a problem in itself because, on one hand, it has experimental and non conventional qualities that belong to a poetic mode of documentary filmmaking and, on the other hand, this film leaves the open door for multiple interpretations by the audience as film director, Godfrey Reggio, refers that it’s up to the viewer to find and fulfill its meaning. Music and image are the main stimuli that take part on this film, so our methodological approach involves observing, listening and analyzing the main components of both music and image in the film pursuing to comprehend how their combination or interaction build the film meaning. The research reveals music and image relationships and characteristics that build and describe an audiovisual representation of the decline and self-destruction of a contemporary and occidental society in which humans, surrounded by a technological world, are alienated and dehumanized as opposed to an ancestral, natural, still, and well-balanced world that this film validates and legitimaze. / Tesis

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Godfrey stammte von den Herren von La Roche-Vanneau bei Fontenay ab und war ein entfernter Verwandter von Bernhard von Clairvaux; mit ihm zog er 1112 nach Cîteaux ein. 1115 zog G. mit Bernhard in die neu gegründete Abtei Clairvaux. 1119 wurde er Abt von Fontenay, kehrte aber später nach Clairvaux zurück, wo er seit 1126/27 Prior und einer von Bernards engen Vertrauten war. Er nahm am Kreuzzug von 1147 bis 1149 teil. G. trat 1163 als Bischof zurück und kehrte nach Clairvaux zurück. Dort ließ er an der Stelle, an der Bernard gestorben war, eine Kapelle errichten. G. selbst starb in Clairvaux. / Godfrey was descended from the lords of La Roche-Vanneau near Fontenay and was a distant relative of Bernard of Clairvaux; With him he moved to Cîteaux in 1112. In 1115 G. moved with Bernhard to the newly founded Clairvaux Abbey. In 1119 he became abbot of Fontenay, but later returned to Clairvaux, where he was prior from 1126/27 and one of Bernard's close confidants. He took part in the crusade from 1147 to 1149. G. resigned as bishop in 1163 and returned to Clairvaux. There he had a chapel built on the spot where Bernard died. G. himself died in Clairvaux.