Orientador: Nuno Cesar Pereira de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T18:27:02Z (GMT). No. of bitstreams: 1 Maia_PauloRobertodeAzevedo_M.pdf: 747136 bytes, checksum: 6a9422e12487c6f2dda271d54cd50823 (MD5) Previous issue date: 2006 / Resumo: Esse trabalho procura discutir a trajetória histórica e a constituição da linguagem do cinejornal Canal 100. A abordagem cinematográfica desse periódico foi, de forma não oficial, condizente com a proposta de leitura do Brasil feita pelo projeto de propaganda política do regime militar que procurou se distanciar dos tipos clássicos de propaganda. A história do cinejornalismo foi motivo de discussão, verificando a presença de vários governos no incentivo a produção e na sua utilização política. A história do Canal 100 (1959-1986) foi abordada com ênfase na figura do seu criador Carlos Niemeyer e suas relações com os governos militares. O formato do cinejornal foi estudado para uma melhor compreensão da sua estrutura narrativa e, particularmente, as imagens relativas ao futebol, responsáveis pela manutenção do Canal 100 na memória de algumas gerações / Abstract: This document discusses the historical route and the establishment of language of Canal 100, a movie news periodical. The movie approach of this series was conducted in non-official form according to the proposal of interpretation of Brazil made by the political propaganda project of the military regime which attempted to distinguish itself from classical forms of propaganda. The history of news movies was discussed, confirming the presence of various governments in the sponsoring of production and its political use. The history of Canal 100 (1959-1986) was remarkably emphasized by the figure of its director, Carlos Niemeyer and his relations with the military Governments. The format of the news movie series was studied for a better understanding of its narrative structure and especially the images related to soccer, responsible for the permanence of Canal 100 in the memory of several generations / Mestrado / Mestre em Multimeios

Na leitura histórica dos cinejornais Notícia da Semana e Atualidades Atlântida, observa-se como suas imagens (fragmentárias, colhidas do descarte iminente e historicizadas com o auxílio de documentação correlata e ferramental teóricometodológico específico), e as mediações que comportam (os interesses econômicos e políticos do seu produtor, o Grupo Severiano Ribeiro empreendimento composto por várias instâncias da atividade cinematográfica), podem contribuir à compreensão do recorte histórico de 1956 e 1961, a respeito de certos limites de sua modernização econômica e avanços políticos. A partir da documentação fílmica e não fílmica remanescente, analisaremos no discurso audiovisual desses cinejornais duas vertentes: algumas representações da nação cinematográfica em imagens de prosperidade nela contidas; e noutro viés, mais ideológico, certas tensões em cenários de crises e conciliações da política nacional e internacional, mostrados em algumas notícias. Em ambos os eixos analíticos, o pano de fundo são as escolhas do seu produtor mediante as melhores oportunidades políticas e econômicas no ápice do período nacional desenvolvimentista, bem como no seu esgotamento, e consequente rearranjo político das forças decisórias em 1961. Neste viés, dialogamos com conceitos como encomenda (Baxandall) e campo (Bourdieu), bem como uma história cultural da política para se compreender a nação cinematográfica levada às telas. Ressalta-se, aqui, o ineditismo destas imagens à cultura audiovisual do século XXI, bem como a contribuição desta categoria de filme, o cinejornal, enquanto fonte de leitura à História do Brasil. / Under a historical approach of the Notícias da Semana and the Atualidades Atlântida Newsreels, we can observe how those images (fragmentary, taken from their impending disposal and historicized with the assistance of related documentation and of specific theoretical and methodological tools) and the mediations that they comprise (the production companys economic and political interests the Grupo Severiano Ribeiro, a company consisting of several cinematographic activity segments) can contribute to understand the Brazilian historical period from 1956 to 1961, concerning some limits of its economical modernization and political developments. From remaining filmic and non-filmic documentation, two aspects will be analyzed in these newsreels audiovisual language: some representations of the cinematographic nation, through images of prosperity they comprise; and, in another strand, an ideological one, the tensions in a scenery of national and international political crisis and conciliations, presented in some of the news. In both analytical axes, the background are the producers choices through the best political and economical opportunities, at the height of the national developmental period, as well as at its depletion and the resulting decision-making forces political rearrangement, in 1961. In this approach, we dialogue with concepts such as order (Baxandall) and field (Bourdieu), together with a cultural history of politic, to understand the cinematographic nation brought to the screen. We emphasize both the uniqueness of these images in the 21st century´s audiovisual culture and the newsreels contribution as an important source for the Brazilian History.

A democratização da participação política a partir de 1946 caminhou por estratégias que visaram, sobretudo, um maior alcance da mensagem ao eleitorado. Dentre elas, tomamos como exemplo a visualidade das campanhas políticas de Adhemar de Barros em São Paulo, trabalhadas no formato de um veículo inspirado e testado numa experiência ditatorial (então recente) e capaz de \"dar vida\" ao seu o discurso: o cinejornal. Neste caso, o cinejornal Bandeirante da Tela, da Divulgação Cinematográfica Bandeirante. Seu conteúdo propagandístico - apresentado em meios a notícias de \"atualidades\" - carrega signos e valores latentes na sociedade em questão. E nos possibilita investir, analisando a representação adhemarista pela linguagem cinematográfica, na releitura de um momento político ainda pouco visitado pelo viés da História Cultural. Neste caso, por uma História Cultural da Política. / Since 1946 the democratization of political participation has aimed reaching the electors in a wider way. As an example of this we have studied the visibility of the political campaigns of Adhemar Barros in São Paulo. The media vehicle was inspired and tested in a dictatorial context (that was recent at the time) and it gave life to his speech: the newsreel. In this case it was the newsreel Bandeirante da Tela of the Divulgação Cinematográfica Bandeirante. Its propaganda content - which was presented as news - bears signs and latent values of the society in question. This makes it is possible for us to study and read again, analyzing the \"adhemarista\" representation through the cinematographic language, a political moment still unknown to the Cultural History. In this case a Cultural History of the Politics.

This dissertation considers ten years in the life of one word. Between 1918 and 1928, khronika—the Russian word that describes newsreel filmmaking—became the site of extensive debates about the aesthetics and social responsibilities of the documentary film. Following the February revolution of 1917, khronika was promoted as the privileged record keeper of a new historical era, catalyzing a period of unprecedented formal innovation. During this period, Soviet documentarians transform the relationship between text and image, developing a film style that integrated verbal and visual material. In newsreel journal such as Kino-Pravda, images cease to be passive illustrations accompanying text and are for the first time treated as equally capable of delivering propositional content. Like other modernist art practices, khronika develops in dialogue with attempts to define its essence as a film genre and its medium specificity. Falling under the influence of competing strains within Constructivism, khronika is first conceived as a purely visual medium and then again as a purely factual one. Made up of seventeen variations on the social, political, and aesthetic aspects of khronika's evolution, the dissertation makes a crucial revision of documentary history. Rather than focus on the first instances of non-fiction films that adapt the narrative conventions of fiction film, Khronika examines the origins of documentary as an informational medium. Drawing on film theory, history of science, and philosophy, Khronika asks what it was that film learned to express during the first tumultuous decade when documentaries ceased to be windows onto a world and become the active interpreters of the reality captured by motion picture cameras. / Slavic Languages and Literatures

本研究試圖以社會歷史取向，審視一九四五年以來台灣新聞與紀錄片在社會的政治、經濟與文化……等相對自主領域交互影響之下的發展形貌。本文將新聞與紀錄片的產製視為一種文化生產，代表的是社會事實意義的「再現」（representation）過程，故在其產製過程中必受到社會中各場域（fields，政治、經濟、文化、科技…）的影響。本文將台灣新聞與紀錄片的產製，置在特定社會、經濟、歷史脈絡中加以分析，以了解在各不同歷史階段下，所承擔的角色與意義。 在行文脈絡部分，依據影片產製者及影片類型之變遷將台灣新聞片與紀錄片之發展分為電影新聞片時期（1945~1971）、電視新聞片與新聞雜誌影片（1971~1984）、電視紀錄片與獨立紀錄片（1984~1995）、個人紀錄片與學院紀錄片（1995~2001）等共四階段。依次分章節論述台灣新聞與紀錄影片的產製在不同歷史脈絡中及社會運作過程中變遷的結果。 電影新聞片時期（1945~1971）：國營片廠掌控了新聞與紀錄片的生產，其延續日本據台時期的產製模式與運用，將新聞與紀錄片視為政宣的工具，用以形塑國家認同與政權的合法性。其再現美學都以「解釋」（expository）形式紀錄片為主，只在呈現官方所欲呈現之事實現象，暗含強烈的教化意義。 電視新聞片與新聞雜誌影片（1971~1984）：電視時代的來臨吞噬電影的消費市場，於是國營片場在影片的產製上快速萎縮，電視媒體成為新聞與紀錄片主要的產製機構，於是電影新聞片轉變成電視新聞報導以及新聞雜誌形式的節目。另一方面國家機器也利用電視聯播節目的形式主導電視紀錄片的產製，而此時受到外在文化氛圍的影響，紀錄片的題材取向轉為關注本土文化，但也由於政治上的持續高壓，使得對台灣本土的關懷侷限於民俗文化或鄉土風情。而「解釋」形式的再現方式仍是此時期主要表現手法。 電視紀錄片與獨立紀錄片（1984~1995）：八○年代之後威權統治逐漸瓦解，源於反抗國家機器對主流媒體的掌控，壓縮了反對運動的發聲空間，反主流媒體因而堀起，對政運、社運進行紀錄，反擊主流媒體扭曲的論述，對政治的專制、農村經濟的危機、貧富分配不均、公害污染等等社會問題進行揭發與批判。但隨著反對運動的漸趨沈澱，反主流媒體也面臨解體消失的命運。另一方面，電影紀錄片在公共電視體系的支持之下持續生產，題材更趨多元。而「觀察」（observational）型式的紀錄片美學也逐漸出現在此時期的作品之中。 個人紀錄片與學院紀錄片（1995~2001）：科技進步之下，影像製作的進入門檻與成本繼續降低，加上正規教育體系與社會團體在人才上的培育與紀錄片美學的介紹，個人紀錄片蓬勃發展。而有線電視所形成的電視環境所供的資金與時段，國家文化單位對相關研究的支持與創作的獎助，也成為紀錄片成長的動力，如此台灣紀錄片創作源源不斷，而在題材上也包含了更廣泛的層面，一般民眾的生活經驗與觀點更能在影片創作中被呈現。而創造上的知性的思考態度，也使得較複雜的紀錄哲學，例如互動式（interactive）的再現技術漸漸成近來影片創作者的一種實踐理想。 / Through sociohistorical approach, this research tends to examine the newsreel and documentary in Taiwan from 1945, which are developed under the interaction from the individual fields, such as politics, economy, culture and so on. This research regards the producing of newsreel and documentary as a mode of culture producing, or a mode of the “representation” of the social events. Therefore, the procedure of production must be influenced by a variety of fields in society (e.g. politics, economy, culture, technology….). This research analyzed the production of the newsreel and documentary in Taiwan, taking into account of society, economy, history, in order to understand their roles and significances in different period of time. Base on the evolutions of producers and their styles, the developments of the news and recording films in Taiwan can be categorized into the period of newsreel (1945~1971), the period of TV news and TV news-magazine documentary (1971~1984), the period of TV documentary and independent documentary (1984~1995) and the period of personal documentary and school documentary (1995~). These four periods are analyzed and explained chapter by chapter in the research. Newsreel period (1945~1971)：the governmental films-making factory controlled the production of newsreel and documentary, and continued the mode of production and use from the period of Japanese Occupation, which means the newsreel and documentary are regarded as the tool of policy announcement in order to form the country identification and the legality of authority. The “expository model” documentary is the main type in “representation”; only presents what government wants to present. TV news and TV news-magazine documentary period (1971~1984)：the advent of TV narrowed the market of movies. The production numbers of the governmental films-making factory decreased quite a lot. TV became the main media for producing the news and documentary. On the other hand, government also used the style of co-broadcast to lead the production of TV documentary. Meanwhile, the topics of documentary tended to pay attention to local culture because of the influence from the outside atmosphere surrounding the society. However, the increasing pressure from politics also makes this attention only limit to folk culture and local customs. The representation of “expository model” was still the main method in this period. TV documentary and independent documentary period (1984~1995)：after 80’s, the collapsion of authority collapsed gradually leaded to the intention against the main media, against the media’s fake statements, to reveal and criticize the authority of politics, the crisis of village economy, the unbalance of rich and poor, and many other social problems. However, while this movement slowed down, the intention against the main media naturally went disappeared. On the other hand, TV documentary kept in producing because of the support from the system of PTV channel, and the topics tended to be various. The type of “observational model” documentary appeared gradually in this period. Personal documentary and school documentary period (1995~2001)：due to the improvement of technology, as well as the growth of specialist and the introduction of the art of the documentary, the personal documentary develop greatly. The capital investment and broadcasting time provided by PTV and cable TV, and the scholarship supported by government are also the motion for the growth of documentary. As result, the documentary in Taiwan were produced steady, the topics went broader, and the experience and opinion from normal people’s life were presented in the creation of documentary. Moreover, the more complicated philosophy about documentary, such as interactive model of representation become the fulfilling idea of the documentary makers.

Na leitura histórica dos cinejornais Notícia da Semana e Atualidades Atlântida, observa-se como suas imagens (fragmentárias, colhidas do descarte iminente e historicizadas com o auxílio de documentação correlata e ferramental teóricometodológico específico), e as mediações que comportam (os interesses econômicos e políticos do seu produtor, o Grupo Severiano Ribeiro empreendimento composto por várias instâncias da atividade cinematográfica), podem contribuir à compreensão do recorte histórico de 1956 e 1961, a respeito de certos limites de sua modernização econômica e avanços políticos. A partir da documentação fílmica e não fílmica remanescente, analisaremos no discurso audiovisual desses cinejornais duas vertentes: algumas representações da nação cinematográfica em imagens de prosperidade nela contidas; e noutro viés, mais ideológico, certas tensões em cenários de crises e conciliações da política nacional e internacional, mostrados em algumas notícias. Em ambos os eixos analíticos, o pano de fundo são as escolhas do seu produtor mediante as melhores oportunidades políticas e econômicas no ápice do período nacional desenvolvimentista, bem como no seu esgotamento, e consequente rearranjo político das forças decisórias em 1961. Neste viés, dialogamos com conceitos como encomenda (Baxandall) e campo (Bourdieu), bem como uma história cultural da política para se compreender a nação cinematográfica levada às telas. Ressalta-se, aqui, o ineditismo destas imagens à cultura audiovisual do século XXI, bem como a contribuição desta categoria de filme, o cinejornal, enquanto fonte de leitura à História do Brasil. / Under a historical approach of the Notícias da Semana and the Atualidades Atlântida Newsreels, we can observe how those images (fragmentary, taken from their impending disposal and historicized with the assistance of related documentation and of specific theoretical and methodological tools) and the mediations that they comprise (the production companys economic and political interests the Grupo Severiano Ribeiro, a company consisting of several cinematographic activity segments) can contribute to understand the Brazilian historical period from 1956 to 1961, concerning some limits of its economical modernization and political developments. From remaining filmic and non-filmic documentation, two aspects will be analyzed in these newsreels audiovisual language: some representations of the cinematographic nation, through images of prosperity they comprise; and, in another strand, an ideological one, the tensions in a scenery of national and international political crisis and conciliations, presented in some of the news. In both analytical axes, the background are the producers choices through the best political and economical opportunities, at the height of the national developmental period, as well as at its depletion and the resulting decision-making forces political rearrangement, in 1961. In this approach, we dialogue with concepts such as order (Baxandall) and field (Bourdieu), together with a cultural history of politic, to understand the cinematographic nation brought to the screen. We emphasize both the uniqueness of these images in the 21st century´s audiovisual culture and the newsreels contribution as an important source for the Brazilian History.

A democratização da participação política a partir de 1946 caminhou por estratégias que visaram, sobretudo, um maior alcance da mensagem ao eleitorado. Dentre elas, tomamos como exemplo a visualidade das campanhas políticas de Adhemar de Barros em São Paulo, trabalhadas no formato de um veículo inspirado e testado numa experiência ditatorial (então recente) e capaz de \"dar vida\" ao seu o discurso: o cinejornal. Neste caso, o cinejornal Bandeirante da Tela, da Divulgação Cinematográfica Bandeirante. Seu conteúdo propagandístico - apresentado em meios a notícias de \"atualidades\" - carrega signos e valores latentes na sociedade em questão. E nos possibilita investir, analisando a representação adhemarista pela linguagem cinematográfica, na releitura de um momento político ainda pouco visitado pelo viés da História Cultural. Neste caso, por uma História Cultural da Política. / Since 1946 the democratization of political participation has aimed reaching the electors in a wider way. As an example of this we have studied the visibility of the political campaigns of Adhemar Barros in São Paulo. The media vehicle was inspired and tested in a dictatorial context (that was recent at the time) and it gave life to his speech: the newsreel. In this case it was the newsreel Bandeirante da Tela of the Divulgação Cinematográfica Bandeirante. Its propaganda content - which was presented as news - bears signs and latent values of the society in question. This makes it is possible for us to study and read again, analyzing the \"adhemarista\" representation through the cinematographic language, a political moment still unknown to the Cultural History. In this case a Cultural History of the Politics.

The aim of the diploma thesis is analysis of the Czechoslovak newsreel of 1961. In the quantitative method, reports are sorted by the codebook into thematic groups. There are following variables: soft x hard news; domestic x foreign news; culture x politics x economy x sport x disaster x rest. As a result of this method we can find out which news were preferred (agenda-setting) and bated (gate-keeping). In the qualitative method author is analysing foreign reports chosen by quantitative method. There were chosen these topics: Soviet economy, German question, Space Race, Cuban Crises and French decolonialism. Powered by TCPDF (www.tcpdf.org)