The Constructivists wholeheartedly endorsed the future of Soviet socialism and they took a leading role in shaping proletarian ideology. Drawing on Bogdanov’s theories of tektology and proletarian art, the Constructivists synthesized their artistic vision with the proletarian cultural movement. The Constructivists’ desire to organize the collective as “worker-organizers” through “production” art was indebted to Bogdanov. In this regard, Constructivist work during the laboratory phase is paramount for understanding the role that Bogdanov’s tektology played in the development of Constructivist theory. In 1929, Dziga Vertov produced Man with a Movie Camera, and an analysis of tektological methods used in this film reveal Vertov’s ideological motivations. It is on this basis – building ideology – that tektology furnished a viable solution to the Constructivist pursuit of uniting the theoretical and the practical in their art.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:32:40Z (GMT). No. of bitstreams: 1 Maria_JoaoPauloMiranda_M.pdf: 42490477 bytes, checksum: da5eeddc5e6cbb844d4939a310c2be54 (MD5) Previous issue date: 2010 / Resumo: O trabalho investiga a transformação estética no cinema de Jean-Luc Godard, analisando antes, durante e pós o grupo Dziga Vertov, encabeçado por Jean-Luc Godard e estudantes maoístas. A mudança estética de Godard é notada por muitos, contudo há escassez de estudos detalhados sobre a influência dos anos do Grupo Dziga Vertov. Portanto, este trabalho enfoca as principais características antes do grupo, relacionando-as às mudanças de posicionamento ocorridas durante o período de atuação do Dziga Vertov. Descreve, ainda, como estas alterações resultaram no cinema atual desenvolvido pelo cineasta, que aborda com maior profundidade novas ligações entre as imagens em movimento. Sob esse aspecto, o cineasta se coloca como um dos únicos da área que alcança tal façanha / Abstract: This work investigates the aesthetic transformation in Jean-Luc Godard' Movies, analyzing before, during and post the Dziga Vertov Group, headed by Jean-Luc Godard and maoist students. Change aesthetics of Godard is noticed by many, but there is a shortage of detailed studies on the influence of Dziga Vertov group' years. Therefore, this work focuses on the main characteristics before Group, relating to changes of positioning occurring during the period of Dziga Vertov' action. Describes, yet, how these changes have resulted in current cinema developed by filmmaker, which deals with greater depth new connections between the moving images. In this sense, the filmmaker is the unique in the area that reaches such a feat / Mestrado / Mestre em Multimeios

Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-01-04T16:20:18Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Renata Barboza Cavalho.pdf: 2127346 bytes, checksum: 18eb838cdc71fced992efde1f17fcc38 (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-01-06T18:47:58Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Renata Barboza Cavalho.pdf: 2127346 bytes, checksum: 18eb838cdc71fced992efde1f17fcc38 (MD5) / Made available in DSpace on 2017-01-06T18:47:58Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Renata Barboza Cavalho.pdf: 2127346 bytes, checksum: 18eb838cdc71fced992efde1f17fcc38 (MD5) Previous issue date: 2016-09-22 / Fundo Mackenzie de Pesquisa / This master’s thesis addresses some issues about the subjectivity and ideology of the sight in the film production mediated by the technological apparatus. It seeks for an understanding of the human-camera relation in arts and culture, through an analysis of two productions that have the camera as protagonist: A man with a camera (1929) of Dziga Vertov and, The giant (1983) of Michael Klier. The work also explores the relations between these two productions and its contemporary relevance. / Esta dissertação aborda questões quanto à subjetividade e ideologia do olhar na produção artística cinematográfica intermediada pelo aparato tecnológico. Suscita uma busca pelo entendimento da relação homem-câmera nas artes e cultura, através da análise de duas produções que tem a câmera como protagonista: Um homem com uma câmera (1929), de Dziga Vertov e O gigante (1983), de Michael Klier. O trabalho também explora os pontos de convergência e divergência entre as duas obras e sua relevância no contemporâneo.

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