Thèse (Ph.D.)--Université Laval, 2004. / Bibliogr.: f. [371]-379. Publié aussi en version électronique.

The aim of this dissertation was to research the field of production design as a sustainable heterotopic image during the various phases of film production. As production topic, The Lorax (Seuss 1971) was explored for its continuing relevant message of warnings against avarice. To provide the production with zeitgeist, the local Pretoria context was implemented to portray this universal narrative message. Information on production design is limited and inadequate. Sources ignore the influences and potential of production design behind the camera lens, which can be quite profound. Production design is influenced by the location and the location is influenced by the production design. Filmic structure and the traditional production design process were researched to provide a structure for the design process. To design the production, film industry conventions were employed with influences from the field of interior architecture. The result of the research is the first step to an inclusive look at production design and its place in the film industry, as well as in society. The result of the design process is a preproduction design package that can be handed over to production companies for further development. In order to complete a production design, the production designer needs a support network of various departments and resources. This dissertation, as the attempt of an individual, is a step to recognize the full potential of the field of production design, by means of a practical example – The Heterotopic Production Design for The Lorax. / Dissertation (MInt(Prof))--University of Pretoria, 2009. / Architecture / unrestricted

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This paper thoroughly examines the production of the thesis short film, Armed With A Heart, from conception to completion. Each area of the film's production is carefully dissected, including the writing, production design, cinematography, editing, sound, technology, workflow, and direction. Each of these areas contain a myriad of decisions that were made in effort to fulfill the overall vision of the movie as being a character driven, psychological thriller produced with a high production value. The aforementioned decisions are discussed at length. Documented feedback from test audiences is also reviewed in an attempt to objectively critique the final film.

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This dissertation in the engineering study of the Engineering technology deals with the proposal of the unit production technology of two pieces of the tool for cold forming of the material X 45 NiCrMo 4, standard W. Nr material number 1. 2767. The production is on the demand and is therefore trial, because the specified tool has not been till now fabricated. The thesis describes an analysis of manufactured components, as well as a description of the material used, a description of the available technologies that were used and a design of production technology. The production will include these methods: turning, grinding, electro erosive deepening and polishing.

O trabalho trata da relação entre arquitetura moderna e cinema brasileiro, tendo como objetos os filmes Flores raras (2013), Eu sei que vou te amar (1986) e Insolação (2009), nos quais obras da arquitetura moderna foram utilizadas como cenário. Este usual procedimento do cinema, também denominado produção de locação, consiste na apropriação de lugares existentes para filmagens, valendo-se de seus espaços e atmosferas. Flores raras teve como cenário a Residência Edmundo Cavanelas (1954); Eu sei que vou te amar, a Casa da Lagoa (1942), ambas projetadas por Oscar Niemeyer; e Insolação foi filmado em diversos edifícios inseridos na paisagem de Brasília, tais como a concha acústica e a curia metropolitana. Identifica-se, de forma geral, o aspecto cenográfico destas obras de arquitetura, a fim de compreender os fatores que contribuiram para sua escolha como locação; para tal, toma-se como referencial teórico o estudo de Eric Rohmer sobre a organização do espaço no cinema; textos de Juhani Pallasmaa sobre a arquitetura do filme; Bernard Tschumi e a dimensão sensual da arquitetura; e Peter Zumthor, sobre a questão da atmosfera na arquitetura. Utiliza-se o conceito semiótico de visualidade e visibilidade, de Lucrécia Ferrara, assim como o procedimento metodológico de leitura de textos não verbais proposto pela autora; realizam-se, então, leituras de sequências dos filmes, considerando seu roteiro e outros materiais como contextualização. A partir dos filmes, identificam-se três aspectos distintos da arquitetura moderna localizados na historiografia da arquitetura. A dimensão cenográfica da arquitetura nos três filmes é apresentada tanto nas leituras quanto nas sequências ilustradas compostas por fotogramas dos mesmos. / The present thesis consists of the relation between modern architecture and the Brazilian movies Flores raras (2013), Eu sei que vou te amar (1986) and Insolação (2009), on which modern architecture is taken as set. At cinema, this is an usual procedure called production of locations: real places and buildings are used as sets, counting with their spaces and ambience. Flores raras was shot at Edmundo Cavanelas\'s house (1954); Eu sei que vou te amar, at Lagoa\'s house (1942), both designed by Oscar Niemeyer; Insolação was shot on several buildings and landscapes in Brasilia, such as the concert hall and the metropolitan curia. The scenographic dimension is identified on these buildings, in order to comprehend the factors which were taken in consideration to be chosen as location; for this reason, some theoretical references are taken: Eric Rohmer\'s study about the organization of space on cinema; Juhani Pallasmaa\'s texts about the architecture of films; Bernard Tschumi and the sensual dimension of architecture; and Peter Zumthor, about athmosphere issues on architecture. It is also considered the semiotic concept of visuality and visibility, conceived by Lucrecia Ferrara, as well as her non verbal method of analysis. Then, movie sequences analysis are carried out, considering the screenplay and other contextualization materials. Based on these movies, three distinct aspects of modern architecture are spotted on the historiography of architecture. The scenographic dimension of architecture on the films mentioned above is presented on analysis and on ilustrated sequences composed by their own frames as well.

A tese discute os mecanismos de seleção e apropriação dos espaços da cidade e a subsequente construção imagética da favela em Cidade de Deus. A partir da análise da narrativa visual da favela fílmica, o trabalho propõe a denominação da direção de arte realizada como invisível. Tal termo expressa o conceito de um cinema que tem na arte um critério importante de verossimilhança que, por fim, leva o espectador a crer que não houve manipulação do espaço filmado. A proposição da nomenclatura direção de arte invisível ampara-se no entendimento do conceito estético de Cidade de Deus e em uma incursão no modus operandi dos enunciados da arte que se articulam na construção das imagens: cenografia, produção de objetos, figurino e maquiagem. A fim de um maior entendimento formal da favela carioca, Rio, 40 graus e 5x Favela se juntam à análise. Dessa forma, o trabalho faz uma leitura de filmes nos quais a cidade é também um dos personagens. Se Rio, 40 graus e 5x Favela tomam emprestado determinados ícones urbanos e geográficos para estruturar seus roteiros, é através de Cidade de Deus que vamos buscar articular o paradoxo em torno de uma direção de arte que se efetiva ao se fazer invisível. / This thesis concerns the mechanisms of selection and appropriation of urban spaces and the further construction of a slum\'s imagery in the film City of God. From the analysis of the visual narrative of the cinematic slum, this dissertation intends to describe a production design achieved as invisible. The term expresses a concept of filmmaking which carries in the craft significant criteria of verisimilitude, which finally leads the viewer to believe that there was no manipulation of the set. The subject of the term invisible production design is supported by the understanding of the aesthetic concept of the film City of God, and by the study of the modus operandi of the art premises which articulate the construction of images: set design, set dressing, costume design and makeup. For a deeper formal understanding of slums in Rio, the films Rio, 40 Graus and 5x Favela are part of this analysis. Thus, this essay depicts films where the city is also perceived as a character. In the sense that Rio, 40 Graus and 5x Favela borrow certain urban and geographic icons in order to structure their scripts, it is through City of God that we may articulate the paradox around an production design that is effective in making itself invisible.

The study aimed to develop a theory describing the nature of the relationship between industrial design and science fiction, based on the observation that science fiction caninspire industrial designers and enrich industrial design processes and products. The hypotheses were that: 1. The roles of industrial design and science fiction are based on parallel ideas. 2. Industrial design is suffused with, and sympathetic to, science fiction thinking. 3. There is a ‘cause and effect’ relationship between aspects of industrial design and science fiction. Science fiction cinema is a key ‘cause and effect’. 4. Science fiction cinema performs a key function in the roles of science fiction, and cinema can be employed to explore and discuss the roles of industrial design and science fiction. The study used a range of research methods. An extensive literature review critically compared and analysed the characteristics and roles of science fiction and industrial design. The analysis identified contrasting and common themes, ideas, processes, texts and subtexts between the two areas. The findings were further analysed using graphic analytical tools, to form models that described and structured the industrial design/science fiction relationship. Three case studies were used to further test the model: the work of industrial designer and visual futurist Syd Mead; science fiction author Bruce Sterling; and the industrial design and production design content of selected science fiction films. Analysis of an Internet discussion among industrial designers also illuminated the model. The findings from the analysis and the case studies supported the validity of the original hypotheses. The study identified as the key elements of an emerging theory the parallel ideas of innovation in industrial design and novum (the new thing) in science fiction; the cause and effect relationship found between the two disciplines; the parallel concepts of mediation and responsibility in industrial design, and anticipation and interrogation in science fiction. The theory was presented as a graphic model that demonstrated these elements. This study concludes that science fiction challenges the design profession to produce better design by requiring that social, political, and technological contexts in which products will exist are explicitly understood and addressed. This is mapped out in an emerging theory that outlines a complex, multi-layered relationship between industrialdesign and science fiction. In industrial design terms, this emerging theory could be considered a prototype.