Made available in DSpace on 2014-06-11T19:26:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-08-25Bitstream added on 2014-06-13T20:28:11Z : No. of bitstreams: 1 garcia_sn_me_assis.pdf: 4166354 bytes, checksum: 773d59ade68b55d78eeea2ab39b49b4a (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Durante o período correspondente ao Estado Novo (1937 a 1945) uma série de aparatos institucionais de controle e repressão - já esboçados desde o início da década de trinta - foram aperfeiçoados, sendo a imprensa um dos principais alvos do novo regime. Ao reconhecer o caráter pedagógico das imagens de humor, bem como suas potencialidades para veiculação de posicionamentos críticos, o discurso oficial chegou a decretar a morte da caricatura política no período, sob a justificativa de identificação plena entre as propostas estatais e os anseios da população. Em meio ao cerco estabelecido à produção humorística brasileira, a revista carioca Careta representou a sobrevivência da verve crítica na imprensa, pois retratava diversas cenas da vida política e social por meio de boa dose de irreverência e criatividade. Discutir as estratégias adotadas pelo semanário para burlar as proibições impostas, assim como compreender quais leituras sobre o período foram engendradas pelas charges - rastreando as principais temáticas abordadas e sua respectiva forma de representação na revista - são as principais questões abordadas na presente dissertação. / During the Estado Novo period (1937 to 1945) an institutional apparatuses of control and repression - already sketched since the beginning of the decade of 1930- was improved, and the press remained as one of the main targets of the new political system. Recognizing the pedagogical character of the humor images, as well as their potentialities for dissemination of critical positions, the official speech came to decree the death of the political caricature, based on the justification of complete identification between the state proposals and the longings of the population. Amid the established surrounding to the Brazilian humorous production, the magazine Careta, from Rio de Janeiro, represented the survival of the criticism in the press, portraying several scenes of the political and social life through a considerable dose of irreverence and creativity. To discuss the strategies adopted by the weekly publication to outwit the imposed prohibitions, as well as to understand which readings on the period were originated by the political cartoons - tracking the main approached themes and their respective layout in the magazine - are the main subjects tackled in these dissertation.

Orientador: Tania Regina de Luca / Banca: Zélia Lopes da Silva / Banca: Maria Helena Capelato / Resumo: Durante o período correspondente ao Estado Novo (1937 a 1945) uma série de aparatos institucionais de controle e repressão - já esboçados desde o início da década de trinta - foram aperfeiçoados, sendo a imprensa um dos principais alvos do novo regime. Ao reconhecer o caráter pedagógico das imagens de humor, bem como suas potencialidades para veiculação de posicionamentos críticos, o discurso oficial chegou a decretar a "morte" da caricatura política no período, sob a justificativa de identificação plena entre as propostas estatais e os anseios da população. Em meio ao cerco estabelecido à produção humorística brasileira, a revista carioca Careta representou a sobrevivência da verve crítica na imprensa, pois retratava diversas cenas da vida política e social por meio de boa dose de irreverência e criatividade. Discutir as estratégias adotadas pelo semanário para burlar as proibições impostas, assim como compreender quais leituras sobre o período foram engendradas pelas charges - rastreando as principais temáticas abordadas e sua respectiva forma de representação na revista - são as principais questões abordadas na presente dissertação. / Abstract: During the Estado Novo period (1937 to 1945) an institutional apparatuses of control and repression - already sketched since the beginning of the decade of 1930- was improved, and the press remained as one of the main targets of the new political system. Recognizing the pedagogical character of the humor images, as well as their potentialities for dissemination of critical positions, the official speech came to decree the "death" of the political caricature, based on the justification of complete identification between the state proposals and the longings of the population. Amid the established surrounding to the Brazilian humorous production, the magazine Careta, from Rio de Janeiro, represented the survival of the criticism in the press, portraying several scenes of the political and social life through a considerable dose of irreverence and creativity. To discuss the strategies adopted by the weekly publication to outwit the imposed prohibitions, as well as to understand which readings on the period were originated by the political cartoons - tracking the main approached themes and their respective layout in the magazine - are the main subjects tackled in these dissertation. / Mestre

<p>Syftet med arbetet är att identifiera och lyfta fram ett antal riktlinjer för den visuella designen av animerad bild som används i utbildningssammanhang. Vi ämnar också att identifiera vilka stilelement inom animerad undervisningsfilm som står sig över tid och olika medium. Att belysa de nya kvaliteter och möjligheter som framkommer i och med det digitala mediet. Vi kommer också att titta på hur målgrupp och mottagarkontext påverkar formens uttryck och innehåll.</p><p>Vi har med en gemensam analysmodell gjort en kvalitativ analys av tre tidstypiska animerade undervisningsfilmer, <em>Camouflage</em> (1943),<em> Den Vidunderliga Världshistorien</em> (1993) och <em>Gutten og Torsken</em> (2007) som alla använder sig av humor som en förstärkning av lärandet.</p><p>Genom analysen har vi kunnat identifiera stilelement så som användandet av stereotyper och metaforer, konstaterat hur innehåll och uttryck till stor del påverkats av målgrupp och mottagarkontext men även av gällande distribution och tekniska möjligheter.</p> / <p>The purpose of this work is to identify and highlight a couple of guidelines for the visual design of an animated film to be used in an educational context. We also seek to identify style elements in animated educational film that persist through time and different medium. Also to highlight new qualities and opportunities that come with the digital medium. Finally we will also look at how the audience and reception context effects and shape the expression and content of an educational movie.</p><p>With a fixed analytical model we have made a comparative qualitative analysis of three period-characteristic animated educational films, <em>Camouflage</em> (1943), <em>Den Vidunderliga Världshistorien</em> (1993) and <em>Gutten og Torsken</em> (2007) which all use humor to enhance the learning.</p><p>Through this analysis we have been able to identify style elements such as the use of stereotypes and metaphors, noted how the content and expression is largely influenced by the audience and receiver context but also of the distribution and technical capabilities.</p>

Syftet med arbetet är att identifiera och lyfta fram ett antal riktlinjer för den visuella designen av animerad bild som används i utbildningssammanhang. Vi ämnar också att identifiera vilka stilelement inom animerad undervisningsfilm som står sig över tid och olika medium. Att belysa de nya kvaliteter och möjligheter som framkommer i och med det digitala mediet. Vi kommer också att titta på hur målgrupp och mottagarkontext påverkar formens uttryck och innehåll. Vi har med en gemensam analysmodell gjort en kvalitativ analys av tre tidstypiska animerade undervisningsfilmer, Camouflage (1943), Den Vidunderliga Världshistorien (1993) och Gutten og Torsken (2007) som alla använder sig av humor som en förstärkning av lärandet. Genom analysen har vi kunnat identifiera stilelement så som användandet av stereotyper och metaforer, konstaterat hur innehåll och uttryck till stor del påverkats av målgrupp och mottagarkontext men även av gällande distribution och tekniska möjligheter. / The purpose of this work is to identify and highlight a couple of guidelines for the visual design of an animated film to be used in an educational context. We also seek to identify style elements in animated educational film that persist through time and different medium. Also to highlight new qualities and opportunities that come with the digital medium. Finally we will also look at how the audience and reception context effects and shape the expression and content of an educational movie. With a fixed analytical model we have made a comparative qualitative analysis of three period-characteristic animated educational films, Camouflage (1943), Den Vidunderliga Världshistorien (1993) and Gutten og Torsken (2007) which all use humor to enhance the learning. Through this analysis we have been able to identify style elements such as the use of stereotypes and metaphors, noted how the content and expression is largely influenced by the audience and receiver context but also of the distribution and technical capabilities.