Orientador: Fernão Pessoa Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T00:59:08Z (GMT). No. of bitstreams: 1 Soares_SergioJosePuccini_D.pdf: 800443 bytes, checksum: a61a797d7b18804dcc52e9095c09bfda (MD5) Previous issue date: 2007 / Resumo: Essa pesquisa buscou investigar o processo de roteirização do documentário entendido como modo de organização da produção e do discurso do filme. Se no filme de ficção a escrita do roteiro ocorre integralmente no período da pré-produção, no documentário essa escrita muitas vezes se manifesta de maneira diferente; trata-se de uma escrita em aberto, que se estende por todo o processo de realização do filme. Foi com base nessa constatação que foi pensada a estrutura dessa tese, que inclui, em suas quatro partes, considerações sobre as três etapas de uma produção cinematográfica: pré-produção, filmagem e pós-produção. A possibilidade de se trabalhar com um roteiro em aberto faz com que funções técnicas, como direção de fotografia e montagem, adquiram maior participação criativa no filme chegando, em alguns casos, a dividir os créditos de autoria / Abstract: This research has investigated the process of construction of the documentary¿s screenplay thought as the mode of organization of the production and the discourse of the film. If in the fiction film the development of the screenplay occurs integrally in a period before preproduction in the documentary film this development occurs in a different way: its about an open development that¿s stretch out to all the process of filmmaking. The structure of this research was based upon this very notion. Its included, in its four parts, considerations about the three periods of film production: preproduction, production, and postproduction. The possibility to work with an open screenplay allows technical functions like direction of photography and edition to gains more participation in the creativity process of the film / Doutorado / Doutor em Multimeios

This dissertation is a currere study of how five students and their teacher understand their mathematical learning inside a Grade 10 classroom in Quebec. More closely, this research examines how recollections of past, present, and future mathematizing are tied to one’s sense of identity. Through analysing the entries in a teacher journal and the autobiographical stories of former students, identifications with and against common tropes of what it means to be “good” at mathematics were examined. This dissertation thus asks, how do participants in mathematics teaching and learning read their experiences, and why does a study like this matter to the future of the subject or to education overall? Using the autobiographical Curriculum Studies method of currere, a psychoanalytic stylistic analysis, and a cultural studies component whereby participants were encouraged to respond to the characters in the popular sitcom The Big Bang Theory, responses were gathered through individual interviews. Insights were derived from psychoanalytic readings of both transference and countertransference taking place in the learning space and beyond. The researcher’s and participants’ responses were understood through the ways in which the teacher’s emotional world is transferred onto the act of teaching and how, reciprocally, the teacher is addressed through feelings, phantasies, defences, and anxieties. The former students were interviewed with the stages of currere in mind in order to elicit free associative responses that lent insight to the regressive, progressive, and analytic stages. The final, synthetical, stage of currere took place to unpack my identificatory work as a researcher and teacher in the mathematics classroom. The methodological considerations in this dissertation included outlining the significance of repetitions of language in interviewees’ responses, both individually and collectively. Participants’ responses began to indicate a complex emotional world whereby their categorization in a “lower” mathematics course in high school nevertheless did not trap their identities into common tropes of of negativity, difficulty, and anxiety. Rather, the types of language and frequency of word use signal how the emotional landscape of students’ mathematical lives is shaped by how students perceive teachers to see them as mathematical or not. This research reveals how mathematics concepts, but more often, pedagogical dynamics, lead to complicated psychological terrain traversed by both teachers and students. I argue that using currere as a methodology readily employable with high school students helps to uncover the complex worlds of mathematical identity formation including the role of societal stereotypes. Furthermore, if educators understand their own dynamics of love and hate in relation to mathematical competence, performance, and pedagogy, they might better foster mutuality between students and teachers overall.

During the long, dark night of a volcanic winter, a young man clashes with his father over the fate of five desperate survivors who have arrived outside the gates of the family compound. Yet he soon discovers true darkness lies within.

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Twenty years after the 1994 Rwandan Genocide, Violet Walters makes her way to the tiny village of Murumba to fulfill her dream of becoming a philanthropist. In addition to the shock of a new culture, Violet must now contend with Bret Calloway, a hardened philanthropist whose ten years at Murumba have made him less than happy about the arrival of Violet and her optimistic new perspective. Amid the mounting tension of their relationship, war looms in the background. What ensues is a testament to the transformational nature of a culture and its people. Gukundana seeks to illuminate injustices related to civil strife and genocide from an outsider's perspective. The character of Violet acts as a stable lens from which western viewers can engage with cultural hardships very different from their own. Within this, the connection between the warring ideologies of Bret and Violet against the background of the mounting violence around them serves as another window into greater emotional engagement with themes of violence and war. Ultimately, this screenplay's mission is to bridge cultural barriers in order to endear viewers to the unity, resiliency, and power of the Rwandan people, thus sparking change within a viewing audience's surrounding community.

When a traumatized ballerina discovers a system of sexual assault in her company, she grapples with the decision to expose her assaulter at the risk of ruining her career.

Unable to save her opioid-addicted father in the real world, an imaginative ten-year-old girl creates a comic book where she can save him.