Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-08-21T20:33:37Z No. of bitstreams: 1 DissFAAJ.pdf: 6287838 bytes, checksum: 751c854a25135ea9779e1ea12099672a (MD5) / Approved for entry into archive by Ronildo Prado (bco.producao.intelectual@gmail.com) on 2017-12-20T16:01:52Z (GMT) No. of bitstreams: 1 DissFAAJ.pdf: 6287838 bytes, checksum: 751c854a25135ea9779e1ea12099672a (MD5) / Approved for entry into archive by Ronildo Prado (bco.producao.intelectual@gmail.com) on 2017-12-20T16:02:04Z (GMT) No. of bitstreams: 1 DissFAAJ.pdf: 6287838 bytes, checksum: 751c854a25135ea9779e1ea12099672a (MD5) / Made available in DSpace on 2017-12-20T16:06:51Z (GMT). No. of bitstreams: 1 DissFAAJ.pdf: 6287838 bytes, checksum: 751c854a25135ea9779e1ea12099672a (MD5) Previous issue date: 2017-03-13 / Não recebi financiamento / The object of study of this dissertation is the film trailer in the context of Brazilian cinematic experience. From a historical perspective, this research clarifies how the relationship between the Brazilian trailer and the U.S. benchmark developed over time, and what were the influences of the imported object, both on the trajectory of the domestic trailer in the market and on its mode of discourse. The main concern was to understand where the trailers fit in the history of Brazilian cinema, a market dominated by U.S. productions. The research methodology used information contained in the archives of periodicals to articulate the context of the trailer in Brazil, focusing on the period in which imported trailers emerged and underwent mass-scale insertions in Brazil. Next, using the film material, case studies were prepared on the Brazilian trailers of the 1940s and the 1950s to identify rhetorical and aesthetic patterns in Brazilian advertisement production. This research hopes to contribute to a better understanding of the circulation (or the problems within the circulation) of Brazilian commercial productions of this period. / Esta dissertação tem como objeto de estudo o trailer de cinema, buscando pensar o contexto da experiência cinematográfica brasileira. Dentro de uma perspectiva histórica, a pesquisa articula como se deu a relação entre o trailer brasileiro e o importado ao longo do tempo, e quais as influências do objeto importado tanto no percurso do trailer brasileiro no mercado, quanto em seu modo de discurso. A preocupação central foi entender de que maneira os trailers se inserem na história do cinema brasileiro, um mercado ocupado pelo produto norte-americano. A metodologia de pesquisa utilizou informação contida em acervos de periódicos para articular um contexto em torno do objeto trailer no Brasil, com foco no período em que os trailers importados surgem e se inserem de forma maciça no país. Em seguida, através do material filmográfico, foram feitos estudos de caso da produção dos anos 1940 e 1950 a fim de identificar padrões retóricos e estéticos nos trailers brasileiros. Desta forma, espera-se contribuir para uma melhor compreensão da circulação (ou dos problemas na circulação) da produção comercial brasileira do período.

In this study, I took the quantitative research approach of film statistical stylistic analysis to examine the editing pattern evolution of 130 Hollywood movie trailers over the past 60 years from 1951 to 2015; the prior studies on the overall evolution of the Hollywood movies’ editing pattern are compared and discussed. The results suggest that although the movie trailers are much shorter than the whole movies, the average shot lengths of the trailers still display a declining trend over the past 60 years, and the variations in the shot lengths are also decreasing. Second, the motions within each framedo not change significantly over the years, while the correlation coefficients between the shot lengths and the motions within the shots are moving toward a more negative correlation relationship over time, suggesting that the trailers are subject to an editing evolution trend that the shorter the shot is, the more motions there are within it, and this also aligns with the overall movies’ editing pattern evolution trend. Last, the luminance of the trailers remains almost the same over time, which does not align with the overall movies’ editing pattern evolution of becoming darker and darker over decades. Together these findings suggest that the movie trailers’ editing rhythm evolution in general aligns with that of overall movies over time while the visual editing pattern evolution of color luminance does not. The study results will improve our understanding on how the Hollywood movie trailers’ editing pattern and style have evolved over time and pave the way for future advertising studies and cognitive psychology studies on the audience’s attention, immersion and emotional response to various editing patterns of movie trailers. / Media Studies & Production