Orientador: Fernão Vitor Pessoa de Almeida Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T12:46:53Z (GMT). No. of bitstreams: 1 Gatti_AndrePiero_D.pdf: 2047629 bytes, checksum: 548d5102f2ec067e18c69a67267d9123 (MD5) Previous issue date: 2005 / Resumo: Objetivo desta pesquisa é o de entender como aconteceram as relações econômicas no seio da indústria cinematográfica brasileira, isto no período que ficou conhecido como o da 'Retomada do cinema brasileiro (1903-2003)¿. A tentativa do presente trabalho teve como principal objeto delinear de que maneira se desenvolveu a produção recente do cinema brasileiro e o momento de internacionalização da comercialização deste setor da indústria. Isto porque a exibição e distribuição do produto nacional mudaram bastante neste momento. Esta é a nossa tarefa / Abstract: The purpose of this research is to understand the relations between the brazilian film industry, particulary in the period known as ¿Retomada do cinema brasileiro (1993-2003)¿. We tried to figure out how developed the brazilian film production with the new moment of the internationalization that ocurred in the comerciaization sector of the industry. Exhibition and distribuition changed a lot in this period and influenced directly the local industry. This is our task / Doutorado / Doutor em Multimeios

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T18:48:00Z (GMT). No. of bitstreams: 1 Peron_MauroLuiz_D.pdf: 14030018 bytes, checksum: 7043dda53b78c6d2a8c953a574a75cf7 (MD5) Previous issue date: 2006 / Resumo: O objetivo desta pesquisa é demonstrar que a atenção de Hitchcock aos confrontos, tanto no tratamento dos temas quanto na construção dos personagens, está presente em diferentes articulações narrativas que desenvolveu, assim destacadas: No primeiro capítulo, a reflexão objetiva demonstrar que os personagens são construídos de modo a viverem o confronto entre culpa e inocência, e que esse perfil narrativo aciona o espectador perante diferentes inflexões de identificação com os personagens. No segundo capítulo, o objetivo é explorar o mecanismo que articula ocultação e revelação de informações tanto de personagens quanto do espectador, apontando como o diretor radicaliza as relações interrogantes, de engano e de ambigüidades e, nesse particular, como o nexo entre desvendamento e dissimulação aciona o suspense. No terceiro capítulo, a reflexão aponta para duas questões centrais, vinculadas à atenção do diretor para o nexo entre a imagem e o som, como o deslocamento da câmera de um diálogo para depositar-se em outra ação, sem diálogo. Simultaneamente, sua atenção à fonte sonora ganhará destaque, na fase muda e sonora de sua obra, na medida em que o ponto de vista assume ora a posição de ponto de escuta, ora a posição de silêncio. No quarto e último capítulo, a reflexão está centrada na maneira pela qual Hitchcock explora o corpo, de forma a traçar na superfície corpórea um tensionamento de várias ordens, desde a carga de injusta condenação até os desdobramentos morais de seus atos, elaboração que constitui um exercício estético na direção da construção de um corpo que demonstra, em sua presença, em seu gesto e em seu timing, um caráter eminentemente visual e, por isso, cinematográfico. A investigação, ao explorar os diferentes mecanismos narrativos do diretor, aponta para a prioridade visual que conferiu aos confrontos presentes nos temas e personagens eleitos para o seu cinema / Abstract: The objective of this research is to demonstrate that Hitchcock¿s attention to confrontations, both in the treatment of themes and in the construction of characters, is present in different narrative structures that he developed, in this manner highlighted. The first chapter shows that characters are built so as to live the confrontation between guilt and innocence, and that this narrative profile affects viewers through different inflexions of identification with characters.In the second chapter, the objective is to explore the mechanism that integrates the hiding and revelation of information both from characters and from viewers, indicating how the director radicalizes doubtful, misleading and ambiguous relationships and, in this respect, how the link between disclosure and dissimulation feeds suspense. The third chapter goes towards two core questions, related to the attention of the director to the link between image and sound, as the camera moves from one dialogue to set on another action, without dialogue. At the same time, Hitchcock¿s attention to sound sources will gain prominence as the point-of-view is sometimes in the listening position and other times in the silent position, even in his silent movies. Finally, the fourth and last chapter is centered on the way Hitchcock explores the body, outlining on the corporal surface many orders of tension, from the burden of unfair conviction to the moral consequences of one¿s acts, an elaboration that is an esthetical exercise towards building a body that shows, in its presence, in its gestures, and in its timing, an eminently visual feature and, for this reason, cinematographic. The investigation, by exploring the different narrative mechanisms of the director, indicates the visual priority that he assigned to the confrontations present in the themes and characters chosen for his movies / Doutorado / Doutor em Multimeios

The camera, as a creature, wanders through space, takes action. We feel tense, every moment of time. In everything. Dance of particles, screaming in unreal tempo. The spatial properties of the haptic world are given by the composition of a score for particle dance. Free notation for sysyphian eternal soul players. Playing a common song of our time and space. Wave. Space between the particles - emptiness. The shape given by the structure of particle dances. So how can you get it. Radiation, Fuse. This is the erosion of the score, the decomposition of the system. Deacon and cleaners. Treasure hunters. Is space between shapes empty? Slavery is not due to the impoverishment of man, but to his transformation into an instrument. The impoverishment of the film's medium is the transformation of the instrument from the instrument into a human being. From the apparatus - rewriting the environment of three-dimensional shapes to the surface, on the apparatus - the emulation of human experience schemes. From indifference to false experience.

Orientador: Cristina Meneguello / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T21:58:29Z (GMT). No. of bitstreams: 1 Maciel_AnaCarolinadeMouraDelfim_D.pdf: 42216695 bytes, checksum: c8b39a500702f3f74e472466c897c5f4 (MD5) Previous issue date: 2008 / Resumo: Esta tese tem como objetivo investigar a trajetória da atriz Eliane Lage, integrante da história do cinema brasileiro dos anos 1950. A eleição e divulgação de um grupo de atrizes - integrando a busca pela implantação de um star system do cinema brasileiro - foram resultantes da tentativa de industrialização do cinema paulista, levada adiante por Franco Zampari e Francisco Matarazzo Sobrinho, por meio da fundação da Companhia Cinematográfica Vera Cruz no ano de 1949. Sendo assim ¿ visto que Eliane Lage foi lançada como atriz por essa Companhia ¿ situo inicialmente a proposta desses estúdios que pretenderam inaugurar no país uma produção em escala e com qualidade técnica, nos moldes do studio system de cinematografias hegemônicas. O Departamento de Publicidade da Vera Cruz desempenhava o papel de eleger e divulgar atrizes (e também atores) que estrelavam seus filmes. Dentre astros e estrelas desse período Eliane Lage é particularmente interessante, pois seguiu a tônica de negar a importância da carreira cinematográfica, conforme analisarei mais detidamente. Assim, uma análise do star system brasileiro se fez necessária. Confluindo três temas principais quais sejam: a Cinematográfica Vera Cruz, o star system brasileiro e atriz Eliane Lage, pretendo lançar nova luz a alguns sensos comuns que envolvem o fim da Vera Cruz e também a fugaz carreira de Eliane Lage. Os mitos que se constituíram em torno da atriz ao longo de décadas, seu comportamento na imprensa e, igualmente, as imagens que prevaleceram ao longo de seu "desaparecimento" da vida pública são alguns dos aspectos analisados na presente tese / Abstract: This thesis aims at investigating the life trajectory of Brazilian actress Eliane Lage, who was part of the history of Brazilian cinema in the 1950s. Choosing and marketing a group of actresses ¿ as an attempt to implement a star system in the Brazilian cinema ¿ resulted from an attempt to create a movie industry in São Paulo, and this was carried out by Franco Zampari and Francisco Matarazzo Sobrinho through the creation of the Vera Cruz Movie Company (Companhia Cinematográfica Vera Cruz) in the year of 1949. Therefore, ¿ seing that Eliane Lage was officially launched as an actress by this Company ¿ I, initially, address the proposal of the studios which aimed at implementing in Brazil quality movie productions in scale mirrored in hegemonic movie studio systems. The Vera Cruz Marketing Department played a role in choosing and marketing the actresses (and actors) that starred their movies. Among all the male and female stars of this period, Eliane Lage is particularly interesting, because she adopted the position of denying the importance of a career in the movie industry as this study will show in more detail. Therefore, we consider an analysis of the Brazilian star system necessary. By bringing together three main topics: the Vera Cruz Movie Company, the Brazilian star system, and actress Eliane Lage, I intend to shed some light on a number of common sense issues concerning the end of the Vera Cruz Company and Eliane Lage¿s ephemeral career. The myths created involving the actress in the past decades, her behavior in the media and, equally, the images that have prevailed during her "disappearance" from public life, are some of the aspects addressed in this thesis / Doutorado / Politica, Memoria e Cidade / Doutor em História

In accordance with an experimental setup this thesis investigates to what extent the participants' attitudes and aesthetic preferences are influenced by the lateral direction of light in moving image sequences. It is also investigated whether the participants' handedness correlates with their advertising evaluation. The purpose of the study is to generate new knowledge of potential biases in moving images that could be applied by image producers to create more compelling commercials. Our work is based on a transdisciplinary theoretical approach and the results are analyzed based on biopsychological, sociocultural and perceptual explanatory models. Three self-designed commercials with a left oriented illumination position were used as stimulus, the stimulus were also inverted horizontally. The participants were asked to assess their attitudes toward the commercials with either left or right oriented lighting. Two surveys were conducted: one with a within-subjects design and one with a between-subjects design, a total of 172 people participated. No significant difference between left and right oriented illumination position occurred in any of the groups for neither feelings toward ad, Aad , Ab , or PI. The results suggests that a bias does not occur in dynamic images, unlike the left oriented bias that has been reliably shown in previous studies that relate to still images. Nor could any correlation be established between reported attitudes and handedness.

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-09-24T18:07:34Z (GMT). No. of bitstreams: 1 ZeiniCruz_AlvaroAndre_M.pdf: 2294717 bytes, checksum: 8fb4a484e3a886442377d6a8a1d3edfe (MD5) Previous issue date: 2013 / Resumo: Este trabalho propõe uma análise sobre a vertente da crítica cinematográfica brasileira que encontrou na internet um espaço propício para seu desenvolvimento. Visa elencar, compreender e distinguir características desta crítica através da historicização e reflexão de expoentes relevantes na esfera da crítica de cinema online. Assim, serão abordadas as revistas virtuais Contracampo, Cinética, Filmes Polvo, Interlúdio, Foco, RUA e os sites Cinequanon, Cinema em Cena, Críticos.com, Omelete e Adoro Cinema. O estudo ainda aborda a transformação da cinefilia usando como meio a internet e seus desdobramentos, como os blogues voltados ao cinema como temática / Abstract: This work proposes an analysis of the Brazilian branch of film criticism, which found a conducive space to development on the internet. It aims to list, understand and distinguish characteristics of this criticism by historicizing and reflecting on relevant exponents in the realm of film criticism online. Thus, we shall discuss the webzines Contracampo, Cinética, Filmes Polvo, Interlúdio, Foco, RUA, and the sites Cinequanon, Cinema em Cena, Críticos.com, Omelete and Adoro Cinema. The study also discusses the transformation of cinephilia using the internet as a medium and its consequences, such as blogs that focus the cinema as a theme / Mestrado / Multimeios / Mestre em Multimeios

Thesis (M. Arch.)--University of Hong Kong, 1997. / Includes special report study entitled :Integration of architecture and ground form. Includes bibliographical references.

Thesis (Ph. D.)--University of Kansas, 1933. / Published also without thesis note.

Thesis (M.Arch.)--University of Hong Kong, 1997. / Includes special report study entitled :Integration of architecture and ground form. Includes bibliographical references. Also available in print.

Thesis (M.A.) - Iowa, 1953. / Also available via the WWW.