O presente trabalho tem como proposta estudar o uso de estruturas documentais no cinema ficcional de horror, tipo de narrativa que ficou conhecida popularmente como found footage. Esses filmes fazem uso de uma linguagem propositalmente híbrida, associando a forma do documentário ao conteúdo da ficção e, hoje, encontram-se tão em voga que já possuem até mesmo clichês e estereótipos. A intenção é entender de que forma o gênero do horror se apropria douso de uma estética associada a registros documentais para favorecer as reações de medo no espectador. Para tanto, privilegiamos recortes na história do cinema e conceitos que possam contribuir para o desenvolvimento de nosso estudo, tanto no que diz respeito ao cinema documental, quanto no que diz respeito ao gênero de horror. Como objeto de análise mais detalhada, trazemos a trilogia inicial de da franquia Atividade Paranormal / This paper aims to study the use of documentary structures in the fictional horror movies, kind of narrative that became known popularly as found footage. These films make use of a purposely hybrid language, linking the form of documentary to fictional content and, today, are so fashionable that already have clichés and stereotypes connected to them.The intention is to understand how the horror genre appropriates the use of an aesthetic associated with documentary records to favor fear responses in the viewer. Hence, we privileged cuts in film history and concepts that can contribute to the development of our study, both with regard to documentary cinema, as with regard to the horror genre. As more detailed analysis of the object, we bring the original trilogy of the franchise "Paranormal Activity"

Belief in the paranormal is a ubiquitous phenomenon throughout the world. However, valid evolutionary reasons to account for such beliefs are limited in their ability to fully explain all types of paranormal belief. In order to test the hypothesis that superstitious beliefs may have evolved as a by-product of a mind mechanism that promotes sociality and social intelligence survey data were collected. Furthermore, a second hypothesis was tested in opposition to the first. This hypothesis sought to illustrate that any negative impact on sociality caused by paranormal belief would require that the benefits of holding such beliefs be far greater than the costs of impaired social ability. Level of social ability was measured using the Tromso Social Intelligence Scale, the Revised Reading the Mind in the Eyes Test and the Revised Experiences in Close Relationships measure. Results for global paranormal beliefs were weak, but supported the second hypothesis. Further analysis showed that two factors from the Revised Paranormal Belief Scale, superstitious belief and traditional religious beliefs, showed consistent statistical significance. Belief in superstitions was negatively correlated with measures of sociality, whereas traditional religious beliefs were positively correlated with measures of sociality. These results indicated that these two types of paranormal beliefs have different effects on sociality. Further investigation into these differences may be beneficial. Further implications for an evolutionary model of paranormal beliefs are discussed.

The study of supernatural beliefs has been a major field in anthropology throughout its history. The study of paranormal experiences as such, however, has been largely left for folklorists to handle. This paper is an attempt to study the genesis, structure and interpretative schemes of narratives of paranormal experiences, specifically ghosts and hauntings, so that through the figure of the ghost (our perception of it, the ways in which we interact with it, how we read it and then talk about it) core experiences that turn non-believers into believers and believers into collectivities can become visible. Because experience is, for those who are said to have had paranormal encounters, what turns beliefs (or disbelief) into certainties, I have focused on theories that set experience and individual constructions of reality at the center of the actor-structure relation. My main purpose is to explore people’s narratives of alleged paranormal occurrences as they develop from individual experiences to cultural systems of legitimized meanings, in order to understand the processes that dynamically link micro and macro levels. I contend that a deeper understanding of all elements involved in the production of the personal-collective will further the development of better analytical tools to study the broad spectrum of cultural matter that escapes formal inquiry due to an old-yet-still-predominant divide between the objective and subjective, concrete and abstract, material and immaterial, public and private -dichotomies that lie at the very core of social and cultural theory. Through compelling analyses of ethnographic accounts on ghosts and the haunted I seek to reformulate the premises on which we understand this dilemma.

Haunted heritage plays an important part in a late modern society in which death is supressed. Parallel with societal changes there is an upsurge of interest in the non-institutional paranormal beliefs. This thesis examines and analyses a museum named Haunted Museum in the town of Borås in Sweden. It is the only museum dedicated to haunted objects in the Nordic countries. This thesis examines what makes this museum special by using triangulation method. Haunted Museum is examined with a site visit, compared with a qualitative text analysis in which the content and meaning of texts surrounding the Haunted Museum are examined. The third triangulation method is a survey study that examines the motivations and factors influencing people visiting the museum. The results show that people visiting the Haunted Museum are motivated by personal interest in non-institutional paranormal beliefs. The museum uses an active and productive online community with other pedagogical methods to create a participatory, engaging and ever-changing museum. The museum also plays an important existential part for people donating haunted objects. Before entering the museum these haunted objects have been described to cause different problems in their homes. Haunted objects have an ability to create an uncanny atmosphere in the space surrounding them. The Haunted Museum and its owners of paranormal investigators uses the experience of the uncanny alongside with techno-scientific methods in an attempt to document and research paranormal phenomenon. They are driven by a desire to explore an outer-worldly and inner-worldly reality inhabited with spirits from the dead. This spiritual practice uses the two binary opposite worldviews created by the secularization process in the modern society. Thus dialectically transcending the two opposites reclaiming the importance of the immaterial reality and its spiritual heritage. This is a two years master´s thesis in Museum and Cultural Heritage Studies.

[AURA] is a collection of photographs of landscapes and objects that have been implicated in fringe beliefs, alternative narratives and the strange events that reside beyond the scope of our everyday experiences. These photographs represent the symbols used to describe phenomena and also concentrate on the areas surrounding the events. My investigation also examines how the affect of the landscape has contributed to the interpretations by those that witnessed it. As a photographic collection, [AURA] investigates issues related to truth, as well as the role of subjectivity versus objectivity in my photographic practice. By concentrating this discussion on issues of sensation and the objects used to symbolize and identify the encounters with peculiar phenomena, I have been attempting to place emphasis on the way the aesthetics of the photograph can speak to issues outside of the image.

This paper will examine the production of the thesis film, Capshaw Ravens. I will analyze the production process from development to post-production, and determine if I achieved my goal of creating a short film with concept, character, and conflict.

No description available.

Cette recherche s'intéresse à la croyance aux phénomènes paranormaux dans la société québécoise contemporaine, et ce chez des personnes n'appartenant pas à des sociétés secrètes basées sur des croyances en des phénomènes inexpliqués. Les phénomènes considérés sont les perceptions extrasensorielles (télépathie, clairvoyance, précognition), les phénomènes liés au concept de survie après la mort (communication avec les défunts, maisons hantées, etc.) et la psychokinésie. L'objectif central du mémoire est de mettre de l'avant une typologie du croire qui s'articule d'après les raisons que les individus ont d'y accorder leur adhésion. Le projet consiste à vérifier les modalités du croire liées au paranormal, à identifier les sources d'autorité qui supportent cette croyance chez un individu et à voir l'impact d'un sentiment de partage présumé dans l'émergence de cette croyance. Cette étude de type qualitative repose sur 10 entrevues réalisées auprès d'individus majoritairement de sexe féminin, âgés entre 18 et 51 ans. Nos hypothèses sont les suivantes: a) les nouveaux paradigmes issus de la mouvance Nouvel-Âge ont permis de penser le rapport au corps, à l'esprit et aux potentialités de ceux-ci de manière différente, faisant émerger, entre autres, la croyance aux phénomènes paranormaux et b) la vraisemblance s'appuie sur une médiatisation qui accentue le caractère « prouvé ou partagé » de ces croyances dites « hors normes ». Les conclusions montrent que cette croyance s'explique d'après une rationalisation biologique/génétique c'est-à-dire comme émergeant d'une capacité inexploitée de l'être relative aux phénomènes de perceptions extrasensorielles et la psychokinésie, mais qu'une rationalisation spirituelle (émergeant de l'extérieur de l'être) est mise de l'avant concernant les phénomènes de survie après la mort. Ces rationalisations justifiant la croyance s'accompagnent de facteurs comportementaux et culturels qui ont également une incidence sur la croyance. De plus, la croyance en ces manifestations inexpliquées s'appuie sur deux types de sources d'autorité, d'abord les plus importantes soit les sources directes (le vécu et le partage avec l'entourage) et finalement indirectes (le traitement de ces phénomènes dans les médias, surtout dans les programmes télévisés). ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Paranormal, Phénomènes paranormaux, Croyance, Médias, Québec (province).

The subgenre found footage has proliferated since the turn of the millennium and today represents a significant portion of the production of American horror film - especially the independent one. Characterized by the use of diegetic cameras – inserted within the narrative universe of the films –, which are usually handled by the characters themselves, the productions made within this style approximate the relationship that the public has with a supposedly (and simulated) amateur image and, consequently, more realistic. This dissertation aims to analyze how the subgenre found footage relates to this discussion of film realism, more specifically in horror movies. To achieve this goal, we study the history of film realism - based on studies by authors such as André Bazin, Ismail Xavier and David Bordwell. We discuss the concepts of realism and naturalism, classic cinema and avant-garde cinema, and we see how these discussions fit into our object of study. We also studied the trajectory of found footage, addressing its prehistory (the relationship with literature and radio), the earliest manifestations in the cinema, and its establishment as subgenre of terror after the launch of The Blair Witch Project (1999). The visual and narrative style of found footage is analyzed based on the theories of authors such as Alexandra Heller-Nicholas and Cecilia Sayad. From the information collected in these surveys, we relate the contents to the analysis of the five main films of the horror franchise Paranormal Activity (2009 - 2015). Through these analyzes, we see that the very conception of realism within the franchise proves to be malleable, as films sometimes hang for avant-garde cinema and sometimes for a classic cinema. / Submitted by Daniel Lucas de Medeiros (daniel.medeiros@unisul.br) on 2017-10-16T22:09:45Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação-Daniel-Lucas-de-Medeiros.pdf: 2217591 bytes, checksum: d4df7fef67a21172399731eccc463cf5 (MD5) / Approved for entry into archive by Karina Ramos Wagner (wagner.karina@unisul.br) on 2017-11-06T10:45:25Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação-Daniel-Lucas-de-Medeiros.pdf: 2217591 bytes, checksum: d4df7fef67a21172399731eccc463cf5 (MD5) / Made available in DSpace on 2017-11-06T10:45:25Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação-Daniel-Lucas-de-Medeiros.pdf: 2217591 bytes, checksum: d4df7fef67a21172399731eccc463cf5 (MD5) Previous issue date: 2017-07-20 / O subgênero found footage proliferou-se a partir da virada do milênio e hoje representa uma parcela significativa da produção do cinema de terror norte-americano – especialmente o independente. Caracterizado pelo uso de câmeras diegéticas – inseridas dentro do universo narrativo dos filmes –, que normalmente são manuseadas pelos próprios personagens, as produções realizadas dentro desse estilo aproximam a relação que o público tem com uma imagem supostamente (e simuladamente) amadora e, consequentemente, mais realista. Esta dissertação tem o objetivo de analisar de que maneira o subgênero found footage se relaciona com essa discussão a respeito do realismo no cinema, mais especificamente no cinema de terror. Para atingir esse objetivo, estudamos a história do realismo no cinema – tendo como base estudos de autores como André Bazin, Ismail Xavier e David Bordwell. Discutimos os conceitos de realismo e naturalismo, cinema clássico e cinema de vanguarda, e vemos de que maneira essas discussões se encaixam em nosso objeto de estudo. Estudamos também a trajetória do found footage, abordando sua pré-história (a relação com a literatura e o rádio), as primeiras manifestações no cinema e o seu estabelecimento como subgênero do terror após o lançamento de A Bruxa de Blair (The Blair Witch Project, 1999). O estilo visual e narrativo do found footage é analisado com base nas teorias de autores como Alexandra Heller-Nicholas e Cecília Sayad. A partir das informações colhidas nessas pesquisas, relacionamos os conteúdos com a análise dos cinco filmes principais da franquia de terror Atividade Paranormal (Paranormal Activity, 2009 - 2015). Por meio dessas análises, observamos que a própria concepção de realismo dentro da franquia mostra-se maleável, à medida que os filmes ora pendem para um cinema de vanguarda, ora para um cinema clássico.

Cette thèse étudie, dans une perspective épistémocritique, la représentation du paranormal dans les Aventures de Tintin de Georges Remi, dit Hergé (1907-1983), et plus précisément dans quatre albums où le paranormal fait partie intégrante de l’intrigue : Les 7 boules de cristal et Le temple du soleil (1948 et 1949), Tintin au Tibet (1960) et Vol 714 pour Sydney (1968). Tout en débordant de péripéties captivantes et de gags pour divertir le (jeune) lecteur, ces albums font de nombreuses références à divers phénomènes paranormaux qui fascinaient Hergé : la voyance, l’hypnose, l’envoûtement et les objets volants non identifiés. Il s’agira d’analyser les modalités d’insertion de ces phénomènes paranormaux dans les albums du corpus, en précisant quels savoirs ils véhiculent principalement, en identifiant certaines de leurs sources et en dégageant tant leur fonction que leur effet sur le lecteur implicite. Nous suggérons que, conscient d’être devenu un façonneur de représentations collectives, l’Hergé de la maturité se veut un passeur de savoirs contestables et contestés, mais auxquels il porte foi.