Films are a reflection of their time, and portrayals of the Vietnamese in film are reflective of the attitudes of American culture and society toward Vietnamese people. Films are particularly important because for many viewers, all they know about Vietnam and the Vietnamese is what they have seen on screen. This is why it is so important to examine the racist portrayals of the Vietnamese that have been presented, where they come from, and how and why they have changed. The significance of this study is that it combines historical studies of issues such as immigration, race relations, and cultural history with literary narratives of these films to explore the reasons why the Vietnamese have been portrayed initially so negatively and why that portrayal is only recently beginning to become more positive. I use six major Hollywood films and three recurring images to explore the ways that the portrayal of the Vietnamese has changed over time. Through a study of the images of the dehumanized enemy, the Vietnamese woman as prostitute, and Vietnamese civilians as backward peasants, the changing nature of racism in the films becomes evident. Blatant racism is found in the films of the 1960s and 1970s due to a long history of racism toward Asians and Asian Americans and the nature of the war itself. The films of the 1980s and beyond, coupled with the waves of refugees and opening of relations with Vietnam begin to show the Vietnamese as human beings. The most recent film of the twenty-first century honors the former enemy. There have been vast improvements, but other advancements remain to be made in race relations on screen and in real life.

Videogames are an audio-visual instrument with a strong educational potential that, nevertheless, have not been considered as such yet. The goal of this work is to encourage teacher and researchers to exhaust the didactic possibilities of this new instrument which constitutes as well a nowadays real social phenomenon, in order to achieve thus its integration at the language teaching classrooms and, more precisely, at the Spanish as a Foreign Language ones. With this purpose in mind, we will delimit the main features of videogames contrasting it with other two elements with which it shares key characteristics and which are properly taken into account within the teaching sector: movies and games. Once this is accomplished, we will meditate on the pros and cons to which the use of videogames as didactic materials lead, we will provide certain keys for its proper usage and, eventually, we will gather up these thoughts and considerations which will be afterwards poured into a didactic proposal based on the graphic adventure game Hollywood Monsters 2.

Este trabalho propõe investigar o imaginário sobre as relações amorosas vivenciadas pelo sujeito na contemporaneidade, marcada pela forte presença da cibercultura, tais como retratadas no discurso artístico evidenciado em seis filmes. Os longas-metragens selecionados para compor a pesquisa, representando heterogeneidade de países e gêneros cinematográficos, são: Apaixonado Thomas (Thomas est Amoureux, 2000), de Pierre-Paul Renders; Im a Cyborg, But Thats OK (Saibogujiman Kwenchana, 2006), de Chan-Wook Park; A Garota Ideal (Lars and the Real Girl, 2007), de Craig Gillespie; Catfish (2010), de Henry Joost e Ariel Schulman; Medianeras (2011), de Gustavo Taretto e, finalmente, Ela (Her), de Spike Jonze. Para tanto, partiremos do referencial teórico da Análise do Discurso (AD) de matriz francesa, sobretudo o trabalho de Michel Pêcheux e os autores que compartilha(va)m a preocupação em observar o discurso como processo imbricado numa rede de múltiplas significações, ao invés de se limitar a perceber o sentido como um produto pronto e acabado a ser extraído pelos leitores. Definindo a linguagem como trabalho, a disciplina desloca a importância dada à função referencial da linguagem, a qual ocupa posição nuclear na Linguística clássica, que defende esse enfoque na comunicação, ou na informação; assim, o viés da AD entende a linguagem como ato sócio-histórico-ideológico, sem negar o conflito, a contradição, as relações de poder que ela traz em seu bojo. Para analisar recortes dos filmes a partir das condições de produção da cibercultura, mobilizamos conceitos da AD sobre a linguagem no processo discursivo não-verbal. Deste modo, ao analisar os recortes e segmentos dos filmes mencionados que instalam sentidos a partir das condições de produção da cibercultura, mobilizamos conceitos da AD sobre o processo discursivo não-verbal, como nas publicações de Neckel (2004, 2010), Souza (2001) e Orlandi (1993), entre outros. A cibercultura, notamos, não pode ser reduzida à Internet e deve ser entendida em sua influência em outros campos, como o corpo e o cinema, para que possamos efetivamente compreender como a cibercultura mudou o imaginário sobre o amor, o que o discurso artístico pode nos revelar tão bem. Em vista disso, trabalhamos ainda com os subsídios de autores da sociologia e da filosofia como Bauman (2001, 2004), Bell (2001, 2007) e Lemos (2010), entre outros, para compreender como o sujeito discursiviza(-se) na era do amor virtual a partir do conceito de imaginário discursivo e de condições de produção, tendo como norte o contexto da contemporaneidade marcado pela sociedade líquido-moderna. Tal como descreve Bell, a cibercultura tem muitas histórias nos interessando, sobretudo, a história política e a história simbólica, em especial esta por nos remeter às narrativas da/sobre a cibercultura na arte. O corpo, por sinal, é um dos conceitos em movência na era da cibercultura, sendo de nosso interesse investigar essas gestos tanto no âmbito da AD quanto com o suporte de outros teóricos. Nesse sentido, o manifesto do ciborgue de Donna Haraway (2013) sobre a ressignificação dos corpos e do amor a partir da pós-modernidade também nos auxilia a interpretar o discurso dos longasmetragens. A partir dessas inquietações, buscamos compreender os modos de subjetivação que se inscrevem da/na cibercultura, a partir das condições de produção que (re)configuram o jogo das formações discursivas na memória e no discurso artístico. / This work proposes to investigate the imaginary about romantic relationships experienced by the subject in contemporary society, marked by the strong presence of cyberculture, such as ortrayed in art discourse evidenced in six movies. The selected feature films for inclusion in this research, representing heterogeneity of countries and film genres, are: Thomas est Amoureux (2000), by Pierre-Paul Renders; I\'m a Cyborg, But That\'s OK (Saibogujiman Kwenchana, 2006), by Chan-Wook Park; Lars and the Real Girl (2007), by Craig Gillespie; Catfish (2010), by Henry Joost and Ariel Schulman; Medianeras (2011), by Gustavo Taretto and, finally, Her (2013), directed by Spike Jonze. To this goal, we mobilize the theoretical framework of Discourse Analysis (AD) of French line, especially the work of Michel Pêcheux and the authors who shares with him the concern in observing the discourse as an imbricated process in a network of multiple meanings, rather than limited to making sense as a ready and finished product to be extracted by readers. Setting the language as work, this discipline shifts the emphasis to the referential function of language, which occupies nuclear position in classical linguistics, which advocates this approach in the communication or information; thus the bias of AD understands the language as a social-historical-ideological act, without denying the conflict, contradiction, power relations that it brings with it. To analyze clippings of films from the cyberculture production conditions, we mobilize concepts of AD on language in nonverbal discursive process. Thus, when analyzing the cuts and segments of the aforementioned films wich installs directions from the cyberculture production conditions, qe mobilize concepts of AD on the nonverbal discursive process, as in publications by Neckel (2004, 2010), Souza (2001) and Orlandi (1993), among others. The cyberculture, we notice, can not be reduced to the Internet and must be understood in its influence in other fields, such as the body and the cinema itself, so we can effectively understand how cyberculture changed the imagery of love, what the artistic discourse can reveal as well. As a result, we take further work with authors of sociology and philosophy as Bauman (2001, 2004), Bell (2001, 2007) and Lemos (2010), among others, to understand how the subject discoursivizes in the age of virtual love from the concept of discursive event and production conditions, having the goal of the contemporary context marked by the liquid-modern society. As describes Bell, cyberculture has many stories above all, the political history and the symbolic story, especially in this by referring to the narratives of/on cyberculture in the art. The body, by the way, is one of the concepts in movement in the age of cyberculture, and our interest to investigate these actions both in AD scope and the support of other theorists. In this sense, the cyborg manifesto of Donna Haraway (2013) on the redefinition of the bodies and love from post-modernity also helps us interpret the discourse of the feature films. From these concerns, we seek to understand the ways of subjectivity that are part of/in cyberspace, from the conditions of production that (re)configure the set of discursive formations in memory and artistic discourse.

A presente tese é oriunda de uma análise da obra cinematográfica de Adrian Cowell (1934-2011), sobretudo, a partir das produções inerentes à Amazônia brasileira no período de 1980 a 1990, através da série A década da destruição, bem como as produções documentais mais recentes que revisitam a referida década da destruição e apresentam seus possíveis legados a partir de diferentes resistências e territorialidades da Amazônia Legal brasileira e suas implicações e conexões numa escala mundializada. Dessa maneira, objetivou-se comprovar, no decorrer da referida pesquisa, a importância da obra cinematográfica de Cowell ancorado em quatro dimensões indissociáveis: a primeira visa comprovar que seu acervo cinematográfico é o maior sobre a Amazônia, o segundo versa sobre os intensos e atuais registros dos conflitos no campo, o terceiro remete ao papel das políticas públicas territoriais na Amazônia em consonância com a teoria dos conflitos agrários envolvendo indígenas, posseiros, sem terras, camponeses, entre outras populações extrativistas/tradicionais e, por fim, a última dimensão indica uma contribuição pedagógica, ou seja, os documentários como instrumento de pesquisa, linguagem, denúncia e recurso político-pedagógico para as escolas. Assim, o argumento central da tese é, justamente, defender que a década da destruição proposta por Cowell ultrapassa qualquer limitação temporal, pois constata-se que as terras públicas são constantemente griladas na Amazônia e em outras regiões do país. Por isso, é possível inferir, no decorrer das análises da sua obra cinematográfica em consonância com a revisão bibliográfica, atualização dos dados advindos da Comissão Pastoral da Terra (CPT), bem como trabalhos de campo que as resistências e territorialidades filmadas por Adrian Cowell no período de cinquenta anos (1958-2008) evidenciam uma leitura profícua sobre a teoria dos conflitos agrários na Amazônia, cujas marcas remetem às lutas de classes antagônicas, conflitos ambientais e territoriais e demais contradições no seio da formação da sociedade capitalista. / This thesis is based on an analysis of Adrian Cowells cinematographic work (1934-2011), particularly from the productions inherent to the Brazilian Amazon from 1980 to 1990, through the series - The Decade of Destruction, as well as recent documentary productions that revise the decade of destruction and present their possible legacies from different resistances and territorialities of Brazilian Legal Amazon and its implications and connections on a world scale. Thus, this research aims to prove the importance of Cowell\'s cinematographic work anchored in four inseparable dimensions: the first aims to prove that its cinematographic collection is the largest on the Amazon, the second is about the intense and current records of conflicts in the countryside, the third refers to the role of territorial public policies in the Amazon, in line with the theory of agrarian conflicts involving indigenous, squatters, landless, peasants, among other extractivists/traditional populations, and finally the last dimension indicates a pedagogical contribution, that is, documentaries as instrument of research, language, denunciation and political-pedagogical resource for schools. So, the central argument of the thesis is precisely to defend that the decade of the destruction, proposed by Cowell, exceeds any temporal limitation, since it is shown that public lands are constantly Illegally-held in the Amazon forest and in other regions of the country. Therefore, it is possible to infer, in the course of the analyzes of his cinematographic work, in consonance with the bibliographical revision, to update the data coming from the Pastoral Land Commission (CPT), as well as field works that resistances and territorialities filmed by Adrian Cowell, in the period of fifty (1958-2008), show a fruitful reading on the theory of agrarian conflicts in Amazonia, whose marks refer to struggles of antagonistic classes, environmental and territorial conflicts and other contradictions in the formation of capitalist society.

Orientador: Marcelo Magalhães Bulhões / Banca: Ana Sílvia Lopes Davi Médola / Banca: José Carlos Marques / Banca: Laura Loguercio Cânepa / Banca: Valquiria Michela John / Resumo: Apesar de recorrente como referência de filmes dos mais variados gêneros, os textos jornalísticos nem sempre ganham a devida atenção no âmbito da pesquisa cinematográfica. Nesta tese, busca-se lançar um olhar ao tema, direcionando o trabalho para as narrativas jornalísticas usadas como referencial para cineastas, que transformam em narrativa audiovisual a representação da realidade de uma história que ganhou as páginas dos jornais ou de um livro-reportagem. O foco da pesquisa é no cinema de horror, que costuma não apenas valer-se deste material, como também se utilizar do vínculo com a não ficção como estratégia para atrair o espectador com a promessa da reprodução de um "caso verídico". Parte- se, pois, da hipótese de que a frase "baseado em uma história real" no início da película funciona como estímulo da curiosidade do espectador. Para o presente estudo, optou-se pelo clássico Horror em Amityville (The Amityville Horror, 1979), adaptado do livro-reportagem homônimo de Jay Anson, de 1977, que ganhou uma nova edição no Brasil neste ano, pela Darkside. O remake de 2005, cujo título é o mesmo, também faz parte da pesquisa. Como corpus de análise, também serão utilizadas reportagens do jornal Newsday, de Long Island, do período em que a história da casa supostamente mal-assombrada foi destaque e do crime que teria dado início à história de assombração. O objetivo desta pesquisa é analisar como se dá o entrelaçamento de narrativas jornalísticas, jornalístico- literária e cinema... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Although recurring as a reference of films of varied genres, journalistic texts do not always gain an attention in the space of film research. In this thesis, the aim is to take a look at the theme, to direct the work to narrate the news narratives as a reference for the filmmakers, who transform the audiovisual narrative into a presentation of the reality of a winning story as pages of a book or a book - reporting. The focus of the research is horror film, which is not only a didactic material, but also makes use of a link with a strategy to attract the viewer with the promise to replicate a true case. It is therefore hypothesized that the phrase "based on a true story" at the beginning of the film works as a stimulus for the spectator's curiosity. For the present study, we opted for the classic Amityville Horror (1979 and 2005), adapted from Jay Anson's eponymous book, which won a new edition in Brazil this year by Darkside. The remake of 2005, whose title is the same, is also part of the research. As a corpus of analysis, reports from the Newsday newspaper of Long Island will also be used for the period in which the story of the supposedly haunted house was highlighted and the crime that would have started the haunting story. The objective of this research is to analyze how the intertwining of journalistic, journalistic-literary and cinematographic narratives occurs, seeking in this work to point out how the process of translation from one medium to another was transformed... (Complete abstract click electronic access below) / Doutor

For centuries films have given filmmakers the ability to affect their audiences visually and emotionally. Special effects and digital effects make a fictional scene appear more realistic. In the film An American Werewolf in London, make-up artist Rick Baker revolutionized the use of practical effects when transforming David Naughton’s character into a werewolf. In 1997 when An American Werewolf in Paris was released, director Anthony Waller utilized digital effects, instead of practical effects, when transforming various characters into werewolves. These transformation scenes were not met with as much praise as its predecessor. If we were to have a better understanding of how individuals perceive practical effects and digital effects it would allow us to determine which one better conveys an emotional reaction. This thesis will demonstrate which type of special effect, practical effects or digital effects, is more effective at relaying an emotional response in a viewer.

As Variações Lexicais Diafásicas, ou seja, as diferenças entre os diversos tipos de modalidade expressiva, têm sido freqüentemente ignoradas pelos tradutores de filmes, talvez por desconhecimento do tradutor, ou pelo trabalho de pesquisa que se deve desenvolver nesse caso, o que descaracteriza muitas personagens. O objetivo desta pesquisa é levantar questões lexicais relevantes no processo de legendagem e dublagem de filmes de língua inglesa, em língua portuguesa do Brasil. O cinema, como produto de entretenimento e, antes de tudo, arte e produto de uma cultura, tem a capacidade de criar figuras, registrá-las e reproduzi-las continuamente e confere a essa forma de representação um poder especial: o de gerar e manter acesas suas construções simbólicas, mesmo aquelas que não possuem relação com as figuras da prática cotidiana. Por isso mesmo, o trabalho dos atores, produtores, diretores, e equipe técnica deve ser preservado. O respeito às Variações Lexicais Diafásicas é trabalho obrigatório do tradutor. Um exame detalhado de um corpus de traduções para dublagem e legendagem de filmes de língua inglesa para o português brasileiro sugere que, em alguns casos, essa tarefa pode ser bastante complexa, mas bastante viável. E os resultados desta pesquisa confirmam essa possibilidade no que se refere a linguagem dos jovens demonstrando que se deve traduzir o \"espírito do filme\",uma vez que o tradutor de filmes \"não somente traduz a fala das diversas situações de comunicação no filme, mas também tem a preocupação de caracterizar cada situação de discurso\" (BAMBA, 1997) / The diaphasic lexical variations which is the differences between several types of expressive modalities, have been frequently ignored by the movie translators, maybe for lacking of acknowledge of the translators, or the work of research that one must be developed in this case, what mischaracterize many characters. The goal of this research is bring up relevant lexical questions about the dubbing and subtitling movie process in English and Portuguese from Brazil. The movies, as product of entertainment and first of all a culture product and art, are capable of creating characters, register them and reproduce them continuously and they grant this kind of representation a special power: to generate and to keep alive their symbolic constructions, even those who don\'t have relation with the everyday characters. That\'s why the actors, producers, directors and technical crew work must be preserved. The respect to the diaphasic lexical variations is a translator duty. A detail exam in a corpus of dubbing and subtitling movies translations in English idiom into Brazilian Portuguese suggests that, in some cases, this task might be very complex, but very viable. And the results from this research confirm this possibility as for language of the young demonstrating that one must to translate the \"film spirit\", once the movie translator \" not only translate the dialog from different situations of communication from the film, but also have the concern to characterize each situation of speech\" (BAMBA, 1997)

As Variações Lexicais Diafásicas, ou seja, as diferenças entre os diversos tipos de modalidade expressiva, têm sido freqüentemente ignoradas pelos tradutores de filmes, talvez por desconhecimento do tradutor, ou pelo trabalho de pesquisa que se deve desenvolver nesse caso, o que descaracteriza muitas personagens. O objetivo desta pesquisa é levantar questões lexicais relevantes no processo de legendagem e dublagem de filmes de língua inglesa, em língua portuguesa do Brasil. O cinema, como produto de entretenimento e, antes de tudo, arte e produto de uma cultura, tem a capacidade de criar figuras, registrá-las e reproduzi-las continuamente e confere a essa forma de representação um poder especial: o de gerar e manter acesas suas construções simbólicas, mesmo aquelas que não possuem relação com as figuras da prática cotidiana. Por isso mesmo, o trabalho dos atores, produtores, diretores, e equipe técnica deve ser preservado. O respeito às Variações Lexicais Diafásicas é trabalho obrigatório do tradutor. Um exame detalhado de um corpus de traduções para dublagem e legendagem de filmes de língua inglesa para o português brasileiro sugere que, em alguns casos, essa tarefa pode ser bastante complexa, mas bastante viável. E os resultados desta pesquisa confirmam essa possibilidade no que se refere a linguagem dos jovens demonstrando que se deve traduzir o \"espírito do filme\",uma vez que o tradutor de filmes \"não somente traduz a fala das diversas situações de comunicação no filme, mas também tem a preocupação de caracterizar cada situação de discurso\" (BAMBA, 1997) / The diaphasic lexical variations which is the differences between several types of expressive modalities, have been frequently ignored by the movie translators, maybe for lacking of acknowledge of the translators, or the work of research that one must be developed in this case, what mischaracterize many characters. The goal of this research is bring up relevant lexical questions about the dubbing and subtitling movie process in English and Portuguese from Brazil. The movies, as product of entertainment and first of all a culture product and art, are capable of creating characters, register them and reproduce them continuously and they grant this kind of representation a special power: to generate and to keep alive their symbolic constructions, even those who don\'t have relation with the everyday characters. That\'s why the actors, producers, directors and technical crew work must be preserved. The respect to the diaphasic lexical variations is a translator duty. A detail exam in a corpus of dubbing and subtitling movies translations in English idiom into Brazilian Portuguese suggests that, in some cases, this task might be very complex, but very viable. And the results from this research confirm this possibility as for language of the young demonstrating that one must to translate the \"film spirit\", once the movie translator \" not only translate the dialog from different situations of communication from the film, but also have the concern to characterize each situation of speech\" (BAMBA, 1997)

This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.

After World War II, film audiences of American crime dramas, later termed film noirs, witnessed the relocation of several film narratives to settings outside of the traditional urban environment. These films began to defy the conventional notion that crime only exists in densely populated cities and began to incorporate alternative spaces, like suburban communities, small towns, and the open road, to tell their stories. This thesis examines how social and geographical spaces contribute to, rather than oppose, a noir sensibility by employing an intertextual analysis of three film noirs set in locations out of the city: Fallen Angel, The Stranger, and Gun Crazy. This project explores the possibility that noir cinema is not bound to a conventional urban environment, but that the ambiguous essence of film noir can also flourish in non-urban settings by preying on the fears and anxieties many Americans experienced after the end of the War.