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Dissertations / Theses on the topic 'Documentary aesthetics'
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Xu, Jiacheng 4159187. "Yi, Observational Documentary Aesthetics, and the Identity Politics of Transcultural Migrancy." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4816.
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There is a moment in Edward Yang’s acclaimed film Yi Yi (2000) in which a young boy in a conversation with his father observes that he cannot see what his father sees and that his father cannot see what he sees, prompting two questions: “How can I know what you see?” and “Can we only know half of the truth?” Unable to provide adequate answers, his father instead offers his son a camera. Later in the film, the same boy presents his uncle with a picture he took of the back of his head. When asked why, the boy responds by saying, “You cannot see it yourself, so I’m helping you.” These two scenes in Yang’s film illustrate the spirit of the questions that guide the aesthetic approach I have taken in my own documentary project. My thesis is composed of two parts: a video project and a research paper, the former of which is a documentary entitled Yi. Named after its primary subject, the film explores the intersections of transnational migrancy and cultural identity through a series of interviews that are intercut with scenes of everyday life that are shot in an observational style. The research paper that follows will situate the project within a specific historical, conceptual, and aesthetic context, before delineating how the cinematic composition of my documentary engages with this framework.
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Grose, Robert. "The emergence of the documentary real within relational and post-relational political aesthetics." Thesis, University of Wolverhampton, 2012. http://hdl.handle.net/2436/311131.
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The aim of this thesis is to conduct a post-relational reading of the programme of relational art and its influence upon current aesthetics. ‘Post’ is not used in the indicative sense here: it does not simply denote the passing of the high water mark of relational art’s critical reception. Rather, it seeks to identify what remains symptomatically unresolved in relational art through a reading of its texts together with its critique. Amongst these unresolved problems certain questions endure. The question of this art’s claim to autonomy and its problematic mode of appearance and materialism remain at large. Ironically it shares the same fate as the avant-garde it sought to distance itself from; the failure to unite art with the everyday. But it has nevertheless redefined the parameters of artistic production: this is its success. I argue that this is because relational art was internally riven from its outset by a contradiction between its micropolitical structures and the need to find a mode of representation that did not transgress its self-imposed taboo upon visual representation. I identify a number of strategies that relational art has used to address this problem: for example its transitive ethics and its separation of ‘the visual’ from formal representations of public space and of a liminal counter-public sphere. Above all, I argue that its principle of the productive mimesis and translation of social relations through art is the guarantor of this art’s autonomy. My thesis is premised upon the notion that one can learn much about new forms of critical art from the precepts and suppositions that informed relational aesthetics and its critical reception. Relational aesthetics, in fact, establishes the terms of engagement that inform new critical art. Above all, this is because the question of the ‘relation of non-relation’ is bigger than relational aesthetics. The ‘relation of non-relation’ does not denote the impossibility of relation between subjects. Rather, it is a category that identifies non-relation as the very source of productive relations. This can be applied to those liminal points of separation that 6 delineate the territory of critical art prior to relational aesthetics. For example, these instances of ‘non-relation’ appear in the separation of art from non-art; of representation from micropolitics and of the anti-relational opposition of the philosophical categories of the general and the particular. Overall, I seek to reclaim Bourriaud as instrumental to the re-thinking of these categories and as essential to a reading of current critical art discourse. I identify a number of misreadings of relational aesthetics that result from a misrecognition or unwillingness to engage with Nicolas Bourriaud’s direct influences: Serge Daney, Michel de Certeau, Gilles Deleuze and Louis Althusser are often overlooked in this respect. I argue that Bourriaud’s critics tend to bring their own agendas to bear on his work, often seeking to remediate what is problematic. These critiques introduce existing aesthetic and political paradigms into his work in order to claim him as their own. So for example we encounter antagonistic relational aesthetics as the reinstatement of the avant-garde. Also, relational aesthetics as an immanent critique of the commodity form within a selective reading of Theodor Adorno. Also, we encounter dissensual relational aesthetics as ‘communities of sense’ that adopt site-specific methodologies whose mode of inhabitation of the socius is a reaction to relational aesthetics and is premised upon separatism. This diversification of relational art’s critique does not address, however, its fundamental problems of autonomy and representation. Rather, in different ways, they sidestep these issues and duplicate their non-relationality in the form of an impasse. My reading seeks to read the relational programme as a whole and to reclaim that which is symptomatically post-relational within it. I think that this is important because the critique of Bourriaud is presently unduly weighted towards the analysis of Relational Aesthetics (Nicolas Bourriaud, Relational Aesthetics, trans. by S. Pleasance and F. Woods, (Dijon: Les presses du réel, 2002)), thus important developments within Postproduction (2002) and The Radicant(2009) have gone overlooked. Specifically, Bourriaud’s increased emphasis upon a topology of forms and an Althusserian ‘aleatory materialism’ demand that we ask whether relationality in art is ontological or epistemological in form. It also demands that we re-consider its claims to materialism and critical realism on its own terms. Bourriaud’s later works are important not simply because they set out how relational art might inhabit networks of electronic communication but because they begin to develop a more coherent thinking of new modes of relational representation. Bourriaud begins to address the aporia of micropolitics and representation in his later works. His notion of representation becomes increasingly a matter of spatio-temporal relation and the representational act becomes increasingly identified with the motility of the relational act as a performative presentation. In the light of these developments, I argue that the thinking of relation that has thus far dictated the philosophical analysis of relationality and political aesthetics results in an acute anti-relationality or a ‘relational anarchism’. This is why the philosophy of Jacques Rancière and Alain Badiou respectively, are inadequate to the demands of current aesthetics. In fact they hinder its development. On this basis I turn to Rodolphe Gashé’s re-thinking of relation. His thinking grants relation a minimal ontology that in fact excludes it from philosophy, but at the same time, plays a key role in the construction of singularities as new epistemological categories. Gashé suggests a unique epistemological value for relations and recognizes what is evental within them. These singularities find their modes of appearance within various forms of the encounter. Gashé’s thought is helpful in that it identifies the non-relational of relation with its event. Also, I argue that a theory of post-relational representation is necessary to address the ‘weak manifestations of relational art’, although not in a transgressive or messianistic form; also, that this thinking of representation, when combined with aleatory materialism, produces a 8 broad constituency of representational forms with which to construct a more robust critical art. This includes the documentary form. In order to address the objections of micropolitics I therefore advance Philip Auslander’s notion of the performativity of the document as essential to relational aesthetics because it is an art form that in fact requires mediation by the visual. My argument is premised upon the ineliminability of representation from the aesthetic and moreover, that the artwork is constituted within a broad nexus of operations and acts of signification. This fragmentary construction is the source of the objectivity or critical realism of these practices. I argue that ‘visual’ documentation functions as a tool for presencing and connecting relations of exchange but is merely one of the forms of representation available to visual artists.
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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.
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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film.Anthropology
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Qian, Ying. "Visionary Realities: Documentary Cinema in Socialist China." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11035.
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This dissertation examines documentary cinema in Socialist China as an emerging technology of mass politics, a new medium for creating political imaginaries and writing history, and a global vernacular connecting China to other revolutionary and modernizing cultures. At the center of my investigation is documentary cinema's capacities to work across boundaries between reality and fiction, between physical and metaphysical worlds, and between a historical world bound by its materiality and a revolutionary world mobilized to take leaps into a brighter future. I argue that these capacities made documentary a particularly relevant media for socialism for both epistemological and historiographical reasons. Epistemologically, documentary brought together the empirical and the ideological, both fundamental to a Marxist quest for truth. Historiographically, documentary's deep bond to the present moment and its capacity for temporal re-structuring and mass mobilization allowed it to intervene radically into the making and writing of history, particularly in a society engaged with engineering its own transformation. Using visual archives only recently made available, the dissertation's wide-ranging discussions include how documentary re-enacted the civil war upon the founding of the PRC, documented "tomorrow" during the Great Leap Forward, created mass passions for diplomacy in the 1960s, and enabled a poetics of mourning and testimony in the immediate years after the Cultural Revolution.East Asian Languages and Civilizations
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McDaniel, Kyle. "Aesthetics of Historiophoty: The Uses and Affects of Visual Effects for Photography in the Historical Documentary Film." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20729.
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This dissertation examines the origins, applications, and functions of visual effects in the historical documentary film. This research study investigates how aesthetic and editorial practices and tools are used for different image forms and as part of the visual presentation. A research design that implements qualitative interviews, visual analysis, and focus groups was incorporated to examine visual effects and images at three specific sites. The pan-and-zoom effect and its variants as well as select titles from the filmography of Ken Burns were used as case studies for this dissertation. The findings from the analyses suggest that visual effects for still image forms and the repetition of these applications and strategies are significant to the content depicted in images, the scope of the visual presentation, and the capacity for audiences to connect to historical information in the film.
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Van, de Peer Stefanie E. "The aesthetics of moderation in documentaries by North African women." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3535.
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This thesis focuses on documentaries by North African women, who have been marginalised within the limited space of the field of African filmmaking. I illustrate how North African cinema has suffered from neglect in studies on African as well as Arab culture and particularly African and Arab cinema. I discuss the work of four pioneering women documentary makers in Egypt, Tunisia, Algeria and Morocco. Consecutively I will discuss Ateyyat El Abnoudy, Selma Baccar, Assia Djebar and Izza Génini’s work. My approach is transnational and Bakhtinian in the sense that I am an outsider looking in. I promote a constant self-awareness as a Western European and an academic interested in the area that is defined as the Middle East. Like the documentary makers, I take the nation state as a starting point so as to understand its effects, in order to be able to critique it and place the films in a transnational context. The documentaries in this thesis illustrate that films of a socio-political nature contest the notion of a singular national identity and can become a means of self-definition. Asserting one’s own cultural and national identity, and subjectively offering the spectator an individual’s interpretation of that self-definition, is a way towards female emancipation. Going against the grain and avoiding stereotypes, evading censorship and dependence on state control, these directors find ways to give a different dimension to their identity. Analysing the work of these four pioneering filmmakers, I uncover diverse female subject matters treated by a similar aesthetic. I argue that through overlooked cinematic techniques, they succeed in subverting the censor and communicating a subtle but convincing critique of the patriarchal system in their respective countries. Their preoccupation with representing ‘the other half’ puts a new and under-explored spin on perceptions of anti-establishment filming with subtly emancipating consequences. I suggest that their common aesthetic is one that develops moderation in terms of context, content and style. There is a cinematic way of implicitly subverting not only the (colonial) past but also the (neo-colonial) present which goes further than re-inscription or compensation: new modes of resistance co-exist with the more rebellious and heroic ones. These women’s films rewrite, imply and contemplate rather than denounce and attack heroically. They do not reject as much as interrogate their situations, counting on the empathic and intersubjective abilities of the spectator. A relationship of trust between director, subject and spectator is crucial if we want to believe in the subalterns’ aptitude for voicing issues and gazing back. I reveal a different approach to communication beyond the verbal, and a belief in the subjects’ capacities to speak and listen. This is echoed in the filmmaker’s sensitive analysis of the subjects’ expression and voice and the non-vocal expression – the gaze. The intended outcome is dependent on the willingness of the spectator to take part in the intersubjective communication triangle. I conclude with the idea that moderation is the foundational concept of a post-Third Cinema transnational aesthetic in North Africa. Ateyyat El Abnoudy, Selma Baccar, Assia Djebar and Izza Génini are pioneers of women’s filmmaking in North Africa, who opened up a space for underrepresented subjects, voices and gazes.
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Martin, Deborah. "Gender, politics & aesthetics in Colombian women's cultural production 1940-2005 : Débora Arango, Laura Restrepo & women's documentary." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612030.
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Hart, Phoebe. "Orchids : intersex and identity in documentary." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.
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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.
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Shapins, Jesse Moss. "Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:11021.
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This dissertation theorizes the genre of the urban database documentary, a mode of media art practice that uses structural systems to uncover new perspectives on the lived experience of place. While particularly prominent in recent decades, I argue that the genre of the urban database documentary arises at the turn of the 20th century in response to the rise of the metropolis and the widespread adoption of new media technologies such as photography, cinema, and radio. This was a time when the modern city engendered significant disorientation in its inhabitants, dramatically expanding horizontally and vertically. The rampant pace of technological development at this time also spawned feelings of dehumanization and the loss of connection to embodied experience. The urban database documentary emerges as a symptomatic response to the period's new cultural conditions, meeting a collective need to create order from vast quantities of information and re-frame perception of daily experience. The design of structural systems became a creative method for simultaneously addressing these vast new quantities of information, while attending to the particularities of individual experience. For media artists, building a database into the aesthetic design of a work itself offers an avenue for creatively documenting the radical multiplicity of urbanized environments, preserving attention to the sensory experience of details while aspiring to a legible whole. Crucially, I argue that the design of these systems is a vital form of authorial agency. By reading these artists' work in relation to contemporary practice, I aim to make transparent the underlying, non-technical ambitions that fuel this distinctive mode of media art practice.
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Araújo, Juliano José de 1981. "Cineastas indígenas, documentário e autoetnografia : um estudo do projeto Vídeo nas Aldeias." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285321.
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Orientador: Marcius César Soares FreireTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T13:45:41Z (GMT). No. of bitstreams: 1 Araujo_JulianoJosede_D.pdf: 16332564 bytes, checksum: f98c8578603358e2a303c0790db93366 (MD5) Previous issue date: 2015
Resumo: Criado em 1986 pelo indigenista e documentarista Vincent Carelli, o projeto Vídeo nas Aldeias (VNA) objetiva fortalecer as identidades, patrimônios culturais e territoriais dos povos indígenas através dos recursos audiovisuais. O VNA atua como uma escola de cinema para os povos indígenas brasileiros por meio de oficinas de formação em audiovisual realizadas nas aldeias e na sede do projeto, em Olinda, no estado de Pernambuco. Desempenha também um papel fundamental como entidade responsável pela captação de recursos, produção e distribuição dos documentários. Nesse contexto, esta pesquisa analisa 28 documentários da série "Cineastas indígenas" realizados entre 1999 e 2011 no âmbito do projeto VNA. Trata-se de seis curtas-metragens e 22 médias-metragens de cineastas indígenas das etnias Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará e Xavante. Essa produção audiovisual de não-ficção é considerada como uma prática de autoetnografia no documentário, à medida que ao conceder a câmera para os indígenas lhes é permitido o que dizer, quando, onde e como filmar, a partir de uma perspectiva interna, na qual eles apresentam suas aldeias, seu cotidiano, sua história, suas festas e rituais, como também os problemas sociais que enfrentam. Nesse sentido, a tese propõe a categoria de documentário autoetnográfico para o corpus analisado, tendo como questões norteadoras: Quais são os procedimentos de criação, métodos de trabalho e condições de realização dos documentários autoetnográficos do projeto VNA? E as posturas éticas, opções estéticas e técnicas neles presentes? Qual a importância desses filmes para as comunidades indígenas que deles participam? Com que finalidade eles são realizados? A partir da análise fílmica, em uma perspectiva textual e contextual, isto é, estabelecendo um diálogo entre elementos internos (imagem, som etc.) e externos dos documentários (entrevistas com realizadores indígenas, equipe do VNA, sujeitos filmados, conceitos das teorias do cinema antropológico e documentário etc.), apresenta-se o estudo do corpus enfatizando, respectivamente, as dimensões ética, estética e política da produção audiovisual de não-ficção do projeto VNA. Considera-se essas três dimensões do discurso fílmico como fundamentais para se compreender melhor a categoria de documentário autoetnográfico que, para além de um conceito dos estudos pós-coloniais, acredita-se constituir em uma tomada de posição e reflexão do campo do cinema diante dos filmes dos realizadores indígenas. A análise dos documentários autoetnográficos do projeto VNA revela: um processo de realização cinematográfica (preparação, filmagem e montagem) no qual a autoria é compartilhada, sendo a ética um elemento presente em todas as etapas; o emprego e a modulação de diferentes gestos estéticos com uma forte influência dos cinemas direto/verdade, mas também questões que emergem com força na produção audiovisual de não-ficção contemporânea, como a encenação e o uso das imagens de arquivo; o papel político desempenhado pelos documentários, tendo em vista que se direcionam aos espectadores não-indígenas, seus enunciatários, para discutir a relação entre história oficial versus história não-oficial, a identidade e cultura indígenas, ou ainda para denunciar, reivindicar e lhes dar visibilidade
Abstract: Created in 1986 by the indigenist and documentary filmmaker Vincent Carelli, the project Vídeo nas Aldeias ¿ VNA (Video in the Villages) aims at reinforcing the identities, cultural and territorial patrimonies of indigenous peoples by means of audiovisual resources. VNA works as a cinema school and provides Brazilian indigenous peoples with workshops on audiovisual production, both in the villages and at the project headquarters, located in the city of Olinda, in the state of Pernambuco. It also plays a fundamental role as the responsible entity for the fundraising, production and distribution of documentaries. In this context, this research analyzes 28 documentaries from "Indigenous Filmmakers", a series produced by VNA from 1999 to 2011. This set of documentaries includes 6 short films and 22 medium-length films by indigenous filmmakers of the ethnic groups Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará, and Xavante. This nonfiction audiovisual production is seen as a practice of autoethnography inside the documentary: once the Indians are provided with cameras, they are also allowed to decide what to say, when, where and how to shoot. From an inner perspective, they present their villages, their daily life, their histories, their rituals and traditional events, as well as the social problems they face. That being said, this dissertation argues that the corpus analyzed in this work fit into the category of autoethnographic documentary and presents the following questions: What are the creation procedures, working methods and realization conditions involved in the production of VNA¿s autoethnographic documentaries? And what are the ethical stances, the aesthetic and the technical options presented by them? What is the importance of these films for the indigenous communities that take part in them? For what purpose are they made? The study of the corpus is based on filmic analysis, from textual and contextual perspectives, that is, establishing a dialogue between internal (image, sound etc.) and external (interviews with indigenous filmmakers, the VNA¿s staff, the filmed subjects, concepts from the anthropological cinema and documentary film theories etc.) elements of the documentaries. It also underscores the ethical, aesthetical and political dimension of VNA¿s nonfiction audiovisual production. These three dimensions of the filmic discourse are seen as fundamental for a better comprehension of the autoethnographic documentary ¿ a category which is not only a concept from the postcolonial studies, but also a way through which cinema takes a stance and reflects on the production of indigenous filmmakers. The analysis of VNA¿s autoethnographic documentaries reveals: a filmmaking process (preparation, filmmaking and montage) in which authorship is shared and the ethics an element present in all these steps; the employment and modulation of different aesthetic gestures, a strong influence from the direct cinema/cinéma vérité, alongside issues that emerge with force in the contemporary nonfiction audiovisual production, such as the staging and the use of archival footage; the political role played by the documentaries, since they are addressed to the non-indigenous public in order to discuss the relation between official and unofficial history, indigenous identity and culture, or even to denounce, claim and give visibility to indigenous peoples
Doutorado
Multimeios
Doutor em Multimeios
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Pantoja, Peschard Maria Jose. "The screen as a hospitable border : analysing the ethics, aesthetics and politics of documentary films about migration and border-crossing experiences." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10724/.
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My project aims to sketch out a theoretical framework to think about documentary films about migration and border-crossings in terms of their political potential. Thus, this work seeks to address the question of whether and how it is possible for these documentaries to give rise to political and ethical relationships that are not directly sanctioned by the nation-state and its sovereign power. In order to do this, I first draw on Jacques Derrida’s proposal of an ethics and politics of hospitality as an alternative conceptualization of political relations that, instead of being determined by membership to a nation-state and geo-political borders, are based on relations of responsibility and solidarity amongst individuals regardless of their citizenship status. Secondly, I argue that Ariella Azoulay’s triadic model of photography exemplifies Derrida’s notion of the ethics and politics of hospitality. For Azoulay, photography can give rise to political relations between the photographed, the photographer and the spectators. Since these relationships are not mediated by the nation-state and are based on partnership, solidarity and equality, I claim that they are relationships of hospitality that are able to disrupt the hierarchies of the social order. Thirdly, I argue that Azoulay’s triadic model can be transposed to the form of documentary, but that this transposition needs to acknowledge the fact that photography and documentary are two different visual media. Finally, I expand my analysis of this transposition by examining three contemporary documentaries about migration and drawing on the work of Jacques Rancière, Hito Steyerl and Trinh T. Minh-Ha. I discuss how the political and ethical bonds between filmmaker, filmed subject and spectators are shaped by the form and stylistic features of each of these documentaries. I conclude that documentaries are like borders, interstitial spaces, where the question of politics converges with questions of ethics and aesthetics.
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Silva, Gustavo Souza da. "Pontos de vista em documentários de periferia: estética, cotidiano e política." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-23092011-192558/.
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Este trabalho investiga os fatores que alicerçam os pontos de vista da produção de documentários de periferias. Desde o final dos anos 1990, vê-se o crescimento da realização de filmes e vídeos encabeçada por oficinas, escolas livres e coletivos independentes. Tal produção é marcada por uma heterogeneidade em formatos, narrativas, temáticas e opções estéticas. Diante dessa multiplicidade, o foco desta pesquisa volta-se para os documentários, pois essa modalidade fílmica tem uma importância vital nessa produção. Quarenta documentários realizados entre 2000 e 2010 compõem o corpus da tese, evidenciando, também, uma diversidade de pontos de vista sobre pessoas, espaços, histórias, sociabilidades. Partindo da ideia de que o ponto de vista no cinema remete tanto à significação do plano como à sua exteriorização, por meio da análise desses filmes formulo como hipótese a ideia de que estética, cotidiano e política estruturam os pontos de vista da produção documental periférica. Para testar essa premissa, a ferramenta metodológica utilizada é a análise fílmica que privilegia imagem, texto e som. A discussão sobre estética, cotidiano e política acena para a necessidade de se debater a questão da autoria e as composições do documentário dois pontos importantes para o entendimento das dinâmicas de produção e efeitos de sentido dos documentários de periferia.This paper investigates the factors that underpin the points of view in documentary filmmaking of the peripheries. Since the late 1990s, one can see the growth of films and videos led by independent schools and collectives. This production is characterized by a heterogeneity in the formats, narratives, themes and aesthetic approaches. Given this multiplicity, the focus of this research turns to the documentaries, because this film category has a vital importance in that production. Forty documentaries made between 2000 and 2010 are the corpus of this thesis, showing also a diversity of views about people, places, stories, sociability. Starting from the idea that the point of view in film refers to both the significance of the plan as its manifestation, by analysing these films I point out, as a hypothesis, the idea that aesthetic, daily life and politics structure the approches of document production of peripheries. In order to test this premise, the methodological tool used is the film analysis that focuses on image, text and sound. The discussion about aesthetics, everyday life and politics points to the need to debate the question of authorship and compositions of the documentary - two important points for understanding the dynamics of production and meaning effects of documentaries of the periphery.
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Scheuermann, Melina. "Animated Memories : A case study of the animated documentary 'Saydnaya – Inside a Syrian Torture Prison' (2016) and its potential within social memory." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185061.
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Through its ability to create images of non-representable incidents animation expands the range and depth of what documentary can represent and how. This master thesis investigates the potential of animated documentary within social memory exemplified by the interactive animated documentary Saydnaya – Inside a Syrian Torture Prison (Forensic Architecture, 2016). By applying a feminist spatial approach, I aim to contribute to the understanding of the role of animated documentary images within social memory.Embodied and haptic spectatorship as well as haptic materiality are crucial in this case study due to the nature of the virtual screen images and interactive navigation (compared to montage) of the architectural 3D model. Testimonies and evidence presented in documentary film require a discursive establishment of truth. Indexicality is discussed in this regard and eventually a theoretical shift towards movement suggested. I demonstrate that Saydnaya extends the strategies in animated documentary that have been in focus so far, such as representing mental states and subjective experiences, by deploying methods of forensic aesthetics. This opens up novel ways to establish truth claims and persuasion in documentary filmmaking that require future research.
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Leedy, Alison J. "Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197472.
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Art HistoryM.A.
Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series Throughout this thesis project I examine the geopolitical context(s) of the photographs featured in Martha Rosler's 'In the Place of the Public Airport Series' (1983) and Allan Sekula's series, 'Sketch on a Geography Lesson' (1982). I investigate the manner in which they question the legitimacy of the genre of documentary photography within the post-modern age by emphasizing the documentation of an actual physical place, presenting an alternative to the post-modern notion of photograph merely as another component of simulacra, or the intentional creation of an image without meaning or origin. By looking at photographs that Rosler and Sekula made during the burgeoning stages of post-modern theory, presents a broader interpretation of the development of Marxist documentary photography from the early 1980's to today. One way in which I dialogue with the discourse surrounding documentary photography in the 1980's is to focus on Rosler's and Sekula's intentional choice of material that emphasizes the political dialogue rather than concepts that are abstract and maintain no reference to real life. Furthermore, the period of the 1980's is considered a point in contemporary art history when the political fervor of the 1960's and early 1970's diminished greatly. Departing from this trend, Rosler's and Sekula's work continues to address political ideas throughout the 1980's, creating a bridge to today's photographers, such as Edward Burtynsky and Andreas Gursky who consider aesthetics from a socio-political perspective.
Temple University--Theses
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Tomaz, Zan Vitor. "Habiter la ville, faire territoire ˸ une prise de position du cinéma brésilien (2005-2017)." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA041.
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À travers l'analyse d'une vingtaine de documentaires et fictions parmi les plus inventifs ayant été réalisés au Brésil entre 2005 et 2017, nous formulons l'hypothèse que les enjeux du territoire urbain sont un élément structurant de cette cinématographie nationale. Les questions relevant de l'habiter y apparaissent effectivement comme le point de convergence entre engagement social et création esthétique. En considérant des problématiques spatiales dans leur dimension politique, la notion de territoire participe à l'élaboration d'un prisme analytique forgé à partir des spécificités cinématographiques des œuvres. Celles-ci nous permettent de distinguer différentes tendances du cinéma brésilien contemporain, sans pour autant effacer la particularité stylistique de chacun des cinéastes abordésThis study of 20 of the most inventive Brazilian fiction and documentary films produced between 2005 and 2017 reveals how they share central concerns related to the urban environment. The act of inhabiting becomes a point of convergence between social activism and artistic ambition in these films. The notion of territory, which adds a political dimension to the conception of space, is key to this analysis of recent Brazilian cinema, which seeks to identify trends in the works examined without ignoring the filmmakers’ individual styles
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Rocha, Filho Marco Antonio Santos da. "Cimo da Serra : uma narrativa fotográfica da paisagem." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/171426.
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Cimo da Serra é uma pesquisa poética em artes visuais que parte da concepção de uma narrativa fotográfica sobre o vilarejo de Tainhas, localizado na região Nordeste do Rio Grande do Sul. Em uma análise que propõe-se como reflexão de processo de criação, busco entender os caminhos na realização de um projeto em artes visuais, sendo evocado, para tanto, alguns dos meus trabalhos anteriores, assim como de outros artistas, a fim de encontrar continuidades e procedimentos operatórios em minha produção. Os conceitos de paisagem e lugar, a técnica fotográfica, a estética documental, a construção narrativa e o livro fotográfico são questões abordadas nesta pesquisa.Cimo da Serra [Top of the mountain range] is a poetic research in visual arts that starts from the conception of a photographic narrative about the village of Tainhas, located in the northeast region of Rio Grande do Sul - Brazil. In an analysis that proposes a reflection about creation process, I try to understand the ways on the accomplishment of a visual arts project, evoking some of my previous works, as well as of other artists, in order to find continuities and operative procedures in my production. The concepts of landscape and place, photographic technique, documentary aesthetics, narrative construction and the photobook are issues addressed in this research.
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Pereira, Dieison Marconi. "DOCUMENTÁRIO QUEER NO SUL DO BRASIL (2000 A 2014): NARRATIVAS CONTRASSEXUAIS E CONTRADISCIPLINARES NAS REPRESENTAÇÕES DAS PERSONAGENS LGBT." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/6366.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThrough a queer perspective, this study aims to investigate the representations of LGBT characters in documentaries produced in southern Brazil between 2000 and 2014. By understanding sexuality as a historical device regulation and social order, we discussed how these films appear the representations of gender, body and sexuality of "abject subject" and how to take or not a counteraesthetics and resistance to sexed and gendered norms. Representations as anchors narratives contribute to understanding the processes of imagining and recognize each other, because every film produces representations submitted to the view of a self enunciator, that is, as others see us and design in the film portraits. Postulate that horizon, the intention of this work unfolds in: (1) investigate the ethical stances of the works to articulate the film universe, leading the meanings given to LGBT characters; (2) analyze how the technical and stylistic devices used in the documentary contribute or not to the subversions of discriminatory film portraits; and (3) understand what are the representations that this movie has figured to establish (and down) his speech and queer aesthetics. The choice of the timeline is justified, first, by demarcating the post resumption of Brazilian cinema (NAGIB, 2002). Second, the emergence of a more committed national films with various representations of LGBT people (GARCIA, 2012). Third, it is from the year 2002 there is a greater heating of the national documentary production (Maruno, 2008). And fourth, the configuration of the LGBT movement in the last decade, which struggle for media spaces - including the cinema to give social existence to his speeches against hegemonic (SIMÕES, FACHINI, 2009). 19 mapped movies, analysis procedures underlie the prior literature and the analysis method filmic representation of LGBT characters that make up the filmic scenarios. In the end, it was possible to infer that, in general, the mapped films and analyzed share of an organic commitment to represent these subjects differently, developing an alternative and opposed to negative and stereotypical representations speech, humanizing the subjects that were out of a possible "humanity." Representing these oppositions and resistances to the discourses of prejudiced order, the filmic representations advance, at times, for upgrades and (re) signification of a place that would serve only to reinforce a control and exclusion strategy. However, to constantly seek to oppose the discourses of prejudiced order, some of these movies fall into the trap of reframing representations of these people characters in hegemonic terms, valuing speeches and aesthetic sanitized and aseptic rather reinvent and circumvent the very discursive regime which elects and defines how LGBT should behave to achieve a status of "viable life". While others bet on an identity reification and some open onto views of homosexuality, travestilidade, transsexuality or bisexuality as real critical land deconstruction of sex / gender, representing these subjects through ethnic and identity model. However, there are those films that are not just concerned with opposing the stereotyped portraits, to draw up a positive image of LGBT or reduce your creativity to an identity reification. In addition, betting on a resistance representation is also counterproductive contrasexual and queer.
Através de uma perspectiva queer, este estudo tem por objetivo investigar as representações das personagens LGBT nos documentários produzidos na região Sul do Brasil, entre 2000 e 2014. Ao compreender a sexualidade como um dispositivo histórico de regulação e ordem social, problematizamos como estes filmes figuram as representações de gênero, corpo e sexualidades dos sujeitos abjetos e como assumem ou não uma estética contraprodutiva e de resistência as normas sexuadas e generificadas. As representações, enquanto âncoras narrativas, contribuem para compreender os processos de imaginar e reconhecer o outro, pois todo filme produz representações submetidas ao ponto de vista de um eu enunciador, isto é, como o outro nos vê e nos projeta em retratos fílmicos. Postulado esse horizonte, a intenção desse trabalho se desdobra em: (1) investigar as posturas éticas das obras para articular o universo fílmico, conduzindo as significações dadas às personagens LGBT; (2) analisar como os dispositivos técnicos e estilísticos utilizados no documentário contribuem ou não para as subversões de retratos fílmicos discriminatórios; e (3) compreender quais são as representações que este cinema tem figurado para estabelecer (e se estabelece) seu discurso e estética queer. A escolha do espaço temporal justifica-se, primeiramente, por demarcar a pós retomada do cinema brasileiro (NAGIB, 2002). Em segundo lugar, pelo despontar de um maior número de filmes nacionais comprometidos com representações mais diversas das pessoas LGBT (GARCIA, 2012). Em terceiro lugar, é a partir do ano de 2002 que há um maior aquecimento da produção de documentários nacionais (MARUNO, 2008). E em quarto lugar, pela configuração do movimento LGBT nesta última década, o qual luta por espaços midiáticos entre eles o cinema para dar existência social aos seus discursos contra-hegemônicos (SIMÕES; FACHINI, 2009). Com 19 filmes mapeados, os procedimentos de análise perpassam pela pesquisa bibliográfica prévia e pelo método de análise fílmica da representação das personagens LGBT que compõe os enredos fílmicos. Ao final, pôde-se aferir que, de modo geral, os filmes mapeados e analisados compartilham de um comprometimento orgânico em representar esses sujeitos de maneira diversa, elaborando um discurso alternativo e de contraposição às representações negativas e estereotipadas, humanizando os sujeitos que antes estavam fora de uma humanidade possível . Ao representar estas contraposições e resistências aos discursos de ordem preconceituosa, as representações fílmicas avançam, em alguns momentos, para atualizações e (re)significações de um lugar que serviria apenas para reforçar uma estratégia de controle e exclusão. No entanto, ao buscar constantemente se opor aos discursos de ordem preconceituosa, alguns desses filmes recaem na armadilha de ressignificar as representações dessas pessoas personagens em termos hegemônicos, valorizando discursos e estéticas higienizadas e assépticas (em vez reinventar e burlar o próprio regime discursivo que elege e define como as LGBT devem se comportar para alcançarem um status de vida viável ). Já outros apostam em uma reificação identitária e pouco se abrem para visões da homossexualidade, travestilidade, transexualidade ou bissexualidade como reais terrenos críticos de desconstrução do sexo/gênero, representando estes sujeitos através de um modelo étnico e identitário. No entanto, há aqueles filmes que não estão preocupados apenas em se opor aos retratos estereotipados, em elaborar uma representação positiva das LGBT ou reduzir sua criatividade a uma reificação identitária. Para além disso, apostam em uma representação de resistência que também é contraprodutiva, contrassexual e queer.
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Bonotto, André 1985. "Trilogia Qatsi : visões e movimentos de mundo." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284052.
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Orientador: Francisco Elinaldo TeixeiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Campinas
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Resumo: Este é um trabalho de análise fílmica da trilogia Qatsi (Koyaanisqatsi, owaqqatsi, aqoyqatsi), dirigida por Godfrey Reggio. É apresentada de início uma bio-filmografia do diretor, indicando sua trajetória e comentando um pouco sobre cada um de seus filmes. A seguir passa-se à análise dos filmes da trilogia, abordando-se primeiro Koyaanisqatsi, quanto aos movimentos de aceleração realizados ao longo das passagens fílmicas, decorrentes principalmente da captação de imagens aceleradas, da movimentação de câmera, e da relação imagem-música. É analisado então Powaqqatsi, discutindo-se um elemento fabulativo que envolve o filme: tanto os povos representados nele, quanto o próprio processo de realização fílmica. Passa-se à análise de Naqoyqatsi, apontando-se a diversidade de materiais visuais utilizados, com o predomínio das imagens técnicas, midiáticas, e virtuais, e sua relação no choque entre dois impulsos contrários, um de caos e o outro de controle. Após essa primeira parte são retomadas as questões principais trabalhadas em cada filme, observando-se a relação de cada uma com os outros filmes - o universo de toda a trilogia. Abre-se com isso o horizonte inicial, relacionando-se então os filmes da trilogia Qatsi com filmes do movimento das sinfonias da cidade, através de relações estéticas, e de algumas relações temáticas. Por fim, expande-se um pouco mais o horizonte do trabalho, identificando-se características dos filmes analisados com elementos oriundos da intersecção dos domínios do cinema documentário com o do cinema experimental, como as constantes fragmentações das narrativas e anamorfoses das imagens. A intersecção desses domínios possibilitaria a existência da estilística fílmica designada como documentário poético, o que se considera ser o caso dos filmes abordados neste trabalho.
Abstract: This work is a filmic analysis of the Qatsi trilogy (Koyaanisqatsi, Powaqqatsi, Naqoyqatsi), directed by Godfrey Reggio. Firstly, it is presented a bio-filmography of the director, indicating his trajectory and some comments on each of his films. Then, the analysis of the trilogy takes place, beginning with Koyaanisqatsi and focusing the acceleration movements along the filmic passages, mainly due to the registration of accelerated images, camera movement and music-image relationship. The Powaqqatsi analysis involves the discussion of the fabulative element present in the film: on the people and actions represented as well on the own filmmaking process. During the Naqoyqatsi analysis, it has been pointed out the diversity of visual materials used, in which dominate technical, mediatic and virtual images, and their relation with the shock of two opposite impulses, i.e. chaos and control. Further, the major issues focused in each film are again considered, taking into account their relations with the other films - the universe of the whole trilogy. The opening of the initial horizon occurs relating the films of the Qatsi trilogy with those of the movement of the city symphonies, through aesthetic and some thematic relationships. Finally, it is performed a further expansion of the initial horizon, identifying characteristics of the films analyzed with elements originated from the intersection of the documentary and experimental film domains, like the frequent narratives fragmentation and anamorphic image fluxes. The intersection of these fields would allow the characterization of the filmic stylistics known as poetic documentary, that is considered to be the case of the films here analyzed.
Mestrado
Mestre em Multimeios
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Almeida, Argemiro Ferreira de. "POLÍTICA E ESTÉTICA NA COMUNICAÇÃO POPULAR: Um estudo sobre os vídeos documentários Grito dos Excluídos da Associação Rede Rua." Universidade Metodista de São Paulo, 2011. http://tede.metodista.br/jspui/handle/tede/603.
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Previous issue date: 2011-03-16This dissertation studies the documentary videos Grito dos Excluídos, produced from 1995 to 2009 by Associação Rede Rua. The purpose is to find, in popular communication, political and aesthetic dimensions as constants of great significance in the composition of a communicative praxis, which is either developed in the popular milieu or addressed to it. Starting with the context of production of the documentaries we reflect on this singular communicative praxis developed by Rede Rua. We also attempt to understand the way in which this praxis produces political and aesthetic reflexes on the materialized work of the video and on its specific manner of recreating reality. The study is based on bibliographical and documental research as well as the participant research and the study of parts of the documentaries. We concluded that they emphasize the denunciative, claiming and annunciatory character of a group of organizations, entities and popular social movements which try to influence Brazilian society positively and whose aim is to overcome the excluding logic of reality that limits and subjects peoples‟ rights to the power of money. Although the videos show political positions, they cannot be understood, in its material form, as political actors . Nevertheless, the present work emphasizes that the aesthetics of the documentaries is manifested as undisjoinable from its political character, since it clearly shows the commitment of its producers to the transformation of an excluding daily reality.
Este trabalho estuda os vídeos documentários Grito dos Excluídos produzidos de 1995 a 2009 pela Associação Rede Rua. O objetivo é localizar na comunicação popular as dimensões políticas e estéticas como constantes de relevância primordial na composição de uma práxis comunicativa que se desenvolve no meio popular ou que se direciona a ele. A partir do contexto de produção dos documentários reflete-se sobre a prática comunicativa singular desenvolvida pela Rede Rua, buscando ainda compreender de que modo essa práxis produz reflexos políticos e estéticos na obra materializada do vídeo e em sua maneira específica de refigurar a realidade. O estudo se baseia em pesquisa bibliográfica e documental, além de pesquisa participante e estudo do conteúdo de parte dos documentários. Conclui-se que eles ressaltam o caráter denunciativo, reivindicatório e anunciativo que emerge de um coletivo de organizações, entidades e movimentos sociais populares, que buscam influir positivamente na sociedade brasileira, visando a superar a lógica excludente da realidade, que limita e condiciona os direitos das pessoas ao poder do capital. Embora os vídeos revelem um posicionamento político, não se pode compreendê-los, em sua forma material, como atores políticos. Contudo, o presente trabalho ressalta que a estética dos documentários se revela como indissociável de seu caráter político, já que evidencia o compromisso de seus realizadores com a transformação de uma realidade cotidiana excludente.
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Almeida, Lago Rezende de. "A quarta parede da loucura: estética e realismo em “Em Nome da Razão”." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7108.
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FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais
Este estudo analisa a película documental Em Nome da Razão: um filme sobre os porões da loucura, dirigida por Helvécio Ratton e produzida pelo Grupo Novo de Cinema e TV, com apoio da Associação Mineira de Saúde Mental. O documentário retrata a realidade dos pacientes internados no Hospital Colônia em Barbacena, no estado de Minas Gerais. Os modelos segregacionistas observados na instituição, criada no início do século XX, remontam a exclusão que, a partir do período do Classicismo, assolava as instalações psiquiátricas. No final da década de 1970, seus pavilhões ganharam conhecimento público por meio das denúncias promovidas pela mídia impressa e por suas intervenções audiovisuais, sustentadas pelo movimento da luta antimanicomial. Os conhecimentos que compõem a percepção e o sentir, a partir da contemplação das obras de arte, se incluem no objetivo central deste trabalho: compreender de que maneira as relações entre a tragédia e a estética, principalmente no que tange a abordagem histórica da imagem realista em seu contexto de produção de afetos, é composta e formulada. Ao conjunto das estruturas de domínio, compreendem-se as formas de resistência, observadas no campo artístico, a fim de utilizar a arte realista no processo de representação da imagem visível em seu contexto racional e social. A transformação da realidade em linguagem, bem como os processos empáticos que sucederam a exibição do filme compõem os estudos que analisam de qual modo as percepções do real são inseridas na obra e como são abordados os compêndios da tristeza. Desta maneira, observa-se que o cinema, enquanto ferramenta política, se instrumentaliza como potente agente de transformações sociais ao agir em prol da construção de uma memória coletiva capaz de repercutir em possíveis realidades plurais.
This study analyses the documentary Em Nome da Razão: um filme sobre os porões da loucura (On Reason’s Behalf: a movie about the insanity’s basement”, directed by Helvécio Ratton and produced by “Grupo Novo de Cinema e TV” (New Group of Cinema and TV), in association with “Associação Mineira de Saúde Mental” (Mental Health Association from Minas Gerais). The documentary portrays the reality of the patients hospitalized in Hospital Colônia, situated in Barbacena, in the state of Minas Gerais. The segregationist model observed in that institution, created in 1903, alludes the exclusion that, after Classicism, has taken place in mental health institutions. The institution was created in the late 1970s and its facilities gained public knowledge through denunciations by the local media and its audiovisual interventions, supported by the anti-asylum movement. The knowledge that understands perception and feelings, after the contemplation of art works, are included on its main objective: to understand how relations between tragedy and aesthetics, specially regarding the historical approach of the realistic image in its context of production of affections is composed and formulated. As domain structures may appear, resistance forms, observed in artistic field, can be comprehended when the reality’s transformation into language, as well as the empathic processes that followed the films exhibitions, make up the studies that analyze how perceptions of real can be inserted in the film and how the compendia of sadness can be approached. Therefore, it can be observed that cinema, as a political tool, can be an instrument of a strong social transformation when acting towards the construction of a collective memory capable of resulting possible plural realities.
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Garson, Cyrielle. "Beyond Documentary Realism : aesthetic Transgressions in Contemporary British Verbatim Theatre." Thesis, Avignon, 2016. http://www.theses.fr/2016AVIG1157.
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Le théâtre verbatim, une pratique scénique dont le texte repose entièrement sur les mots exacts énoncés par des personnes réelles, est au coeur d’une renaissance remarquable et inattendue du genre en Grande-Bretagne depuis le milieu des années quatre-vingt-dix. Au même moment, les metteurs en scène britanniques contemporains ont déclaré avoir trouvé de nouvelles approches pour une pratique du théâtre politique par son entremise. En dépit de la dominante anti-réaliste qui semble encore à l’heure actuelle caractériser la culture postmoderne, on admet le plus souvent que le réalisme documentaire est resté le mode par excellence de représentation des pièces verbatim sur scène. Il va donc de soi que ce théâtre, ainsi défini, ignore du même coup les récents bouleversements survenus sur la scène théâtrale britannique. À travers une étude comparative de sept spectacles que nous considérons comme représentatifs du théâtre verbatim, il est affirmé qu’il y a bien eu, malgré tout, des spectacles verbatim dont la nature discontinue implique l’éloignement du réalisme comme élément fédérateur de la représentation. Ces spectacles, qui font appel à l’expérimentation esthétique sous de multiples formes, approfondissent et transgressent ce que nous pourrions entendre par « théâtre verbatim ». Le but de cette analyse est donc d’étudier le théâtre verbatim à contre-courant de ses propres affirmations d’authenticité et de véracité et de suggérer la nécessité d'un discours qui articule mieux l’interdépendance entre les impératifs esthétiques et les possibilités d’un engagement social. Enfin, cette thèse rend compte de l’existence d’une diversité de variables esthétiques dans le théâtre verbatim d’aujourd'hui qui vise un public habitué aux nouveaux médias. À cet égard, ces variables sont regroupées selon trois positions théoriques, chacune étant analysée et traitée de manière distincte et illustrée par des exemples concrets. Par le biais de cette étude, nous espérons ainsi mettre en lumière les esthétiques mouvantes du théâtre verbatim, afin d’en établir une histoire critique et de contribuer à la formulation de ce champ de recherche si riche, autant d’un point de vue scientifique que du point de vue de la pratique vivante de l’art théâtralBeyond Documentary Realism: Aesthetic Transgressions in Contemporary British Verbatim Theatre Verbatim theatre, a type of performance based on actual words spoken by ‘real people’, has been at the heart of a remarkable and unexpected renaissance of the genre in Great Britain since the mid-nineties. Simultaneously, contemporary British theatre-makers claimed to have found a renewed avenue to politics through this particular medium. In spite of recent shifts in the British theatrical landscape as well as the much-vaunted postmodern culture of anti-realism, documentary realism is generally conceded to have remained the normative mode of presentation for verbatim plays on stage. Through a comparative examination of seven representative verbatim productions, this dissertation argues, however, that there has been an equally persistent strand of verbatim works that involves a move away from realism as the key element in performance. These productions make use of a wide variety of aesthetic experiments that broaden and transgress what we might understand as verbatim theatre. The strategy adopted by this study is thus to read verbatim theatre against the grain of its claim to ‘authenticity’ and ‘truthfulness’ and to suggest the need for a discourse which better articulates an interdependence between its aesthetic imperatives and the possibilities of social engagement. Finally, this dissertation accounts for the existence of a range of aesthetic variables in present-day verbatim theatre which is aimed at more media-aware contemporary audiences. These are grouped into three theoretical positions, each of them being analysed and discussed in a separate part and illustrated by case studies. It is hoped that, through this argument, the changing aesthetics of verbatim theatre will be illuminated and that – on however small a scale – this doctoral dissertation will contribute to a critical history and theoretical formulation of the complexity of this rich field as both a scholarly discipline and a lived practice
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Logan, Philip C. "The aesthetic and intellectual influences on the documentary films of Humphrey Jennings, 1907-1942." Thesis, Sheffield Hallam University, 2000. http://shura.shu.ac.uk/19979/.
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Discussions about the early films of Humphrey Jennings refer to his artistic and intellectual background to explain the nature and scope of his film work. Such discussions, however, tend to rely on highly selective and partial information from existing accounts. This tendency has over time created a form of orthodox opinion, an opinion which tends to regard Jennings as an artist and intellectual who, prior to full-time involvement with film, collaborated and worked on a diverse series of artistic and intellectual projects spread across a wide range of subjects and disciplines. These activities are seen as symptomatic of a mind which could not remain focussed on one particular endeavour. However Jennings` early wartime films express in quintessential form many of his ideas, and through a distinctive form of poetic expression celebrate both the civilian response to and the need for national unity under the threat of invasion. The aim of this thesis is to revise the existing understanding of Jennings' artistic and intellectual background and challenge the prevailing interpretations of his early propaganda films between 1939 and 1942. It is hoped to reveal how his artistic and intellectual pursuits and his film work represent a sustained and coherent intellectual and artistic exercise focussed on the nature of artistic technique. This focus dates from the activities of his parents and continues through his educational experiences at school and university. Simultaneously this engagement with the arts was informed and influenced by contemporary economic, social, cultural and political events. It is these factors which inform the nature and scope of his filmwork. In artistic, intellectual and political terms the series of films Jennings produced and directed between 1939 and 1942 represent in style and form a fundamental challenge to John Grierson's understanding of the meaning, nature and role of the documentary and propaganda film. Jennings' challenge to the Griersonian ideal of documentary film also contests the political meaning behind both pre-war documentary and wartime propaganda notions of national unity and the future post war settlement.
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Robert-Gonçalves, Mickaël. "Cinéma portugais en révolution. 1974-1982 : genèse, enjeux, perspectives." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA023/document.
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En se concentrant sur une période courte et libératrice de l’histoire du Portugal contemporain, ce travail vise à établir ce que la révolution, pensée comme processus, événement et rupture, a provoqué dans la production cinématographique. L’aire chronologique correspond donc aux années de la Révolution portugaise de 1974-1975 puis ses soubresauts jusqu’en 1982.Pour saisir ce moment complexe et singulier, l’observation des liens entre cinéma et politique est proposée à travers les rapports de force existants entre le régime, les institutions et le monde du cinéma. L’existence d’un cinéma révolutionnaire, qui accompagne un processus de changement social et politique radical et se révolutionne lui-même, se perçoit à travers des conflits et des enjeux de pouvoir. De la remise en question du modèle de production – l’avènement d’un modèle coopérativiste – à la volonté de diffuser autrement les films, en passant par les problématiques soulevées par la politisation des pratiques artistiques, les cinéastes n’ont alors eu de cesse de pouvoir mettre en crise les modalités de création. L’analyse de plusieurs films particulièrement significatifs montre que la rencontre entre la révolution et le cinéma offre des potentialités créatives nombreuses : des saillies pamphlétaires manifestent les nécessités du processus, les usages du cinéma-direct semblent faire corps avec l’événement, et l’idée de film-révolution au cœur de Bon peuple portugais (Bom Povo Português, 1981) de Rui Simões incarne, au cinéma, la rupture ouverte par le fait politique.Ce travail est animé par une double ambition. D’abord, grâce aux témoignages des cinéastes et producteurs de l’époque, il s’agit de proposer de nouveaux éclairages sur un pan encore méconnu et sous-évalué de l’histoire du cinéma portugais. Ensuite, à la faveur de l’étude des rencontres pratiques et formelles entre un processus historique et l’esthétique, les voies explorées dans la thèse voudraient contribuer à enrichir une histoire du cinéma engagéFocusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema
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Souza, Leandro Cunha de. "Cinema direto na Paraíba: a consolidação de um estilo na representação do real." Universidade Federal da Paraíba, 2017. http://tede.biblioteca.ufpb.br:8080/handle/tede/9800.
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In this research, we seek to comprehend how occurs the arrival and difusion of an approach mode of the real, the so called direct cinema, with its sound record stylistic synchronous to the image, on the documentary from Paraiba, from the late 70s. This style stood out for giving people voice so they could talk about themselves to the cinema, revealing, this way, a language sensitive to the social matters, to the political problems, to the gender and identity matters, beside the many cultural manifestations. We discussed the role of UFPB's Cinematographic Documentation Core (NUDOC) as a formation agent of new directors, from the exchange with Paris Varan Association (Ateliers Varan), promoting internships in direct cinema in João Pessoa and Paris, thus providing a technical, cultural and theorical baggage consistents to the new directors. On the scope of our research, we conceptualized, initially, the documentary against its stylistic ways and delimitations of a representation field. Right next, we discussed the direct cinema, its approaching strategies of the real and its precursors in Paraiba, the consolidation of a style (the expositive mode on the paraibano documentary), NUDOC's role on the difusion of the direct and finally the stylistic of the direct in Paraiba: from the 80s until nowadays. For this, we based our analysis on the main theories of the documentary study, on the productions study about the Super-8 mm and the direct cinema made in Paraiba, on the interviews and notes produced along the research, discussing the language, the technology, the stylistic resources used in its historical context. These productions contribute with the identity formation of the local cinema, influencing new generations of directors. Lastly, we will demonstrate our considerations about the stylistic procedures used in the direct e, this way, contribute with a new look about the study of the audio-visual narratives apllied to the making of the documentary in Paraiba.
Nesta pesquisa, buscamos compreender como se dá a chegada e difusão de um modo de abordagem do real no documentário paraibano, a partir do final dos anos 1970, o chamado Cinema Direto, com sua estilística de registro de som sincrônico à imagem. Esse estilo se destacou por dar voz às pessoas para falarem de si próprias para o cinema; revelando, desta forma, uma linguagem sensível às questões sociais, aos problemas políticos, às questões de gênero e de identidade, além das diversas manifestações culturais. Discutimos o papel do Núcleo de Documentação Cinematográfica da UFPB (NUDOC) como agente de formação de novos realizadores, a partir do intercâmbio com a Associação Varan, em Paris (Ateliers Varan), com a promoção de estágios em Cinema Direto em João Pessoa e Paris, fornecendo, assim, uma bagagem técnica, cultural e teórica consistentes aos novos realizadores. No escopo da nossa pesquisa, conceituamos, inicialmente, o documentário diante das suas maneiras estilísticas e delimitações de um campo de representação. Em seguida, discutimos o Cinema Direto, suas estratégias de abordagem do real e seus precursores na Paraíba, a consolidação de um estilo (o modo expositivo no documentário paraibano), o papel do NUDOC na difusão do Direto e, por fim, a estilística do Direto na Paraíba – dos anos 1980 aos dias atuais. Para isso, embasamos nossa análise nas principais teorias do estudo do documentário, nos estudos das produções sobre o Super-8 mm e o Cinema Direto realizado na Paraíba, nas entrevistas e anotações produzidas no decorrer da pesquisa, no debate sobre a linguagem, a tecnologia, os recursos estilísticos usados e seu contexto histórico. Estas produções colaboraram com a formação da identidade do cinema local, influenciando novas gerações de realizadores. Por fim, demonstramos nossas considerações acerca dos procedimentos estilísticos utilizados no Direto, na tentativa de contribuir com um novo olhar sobre o estudo das narrativas audiovisuais aplicadas à realização do documentário na Paraíba.
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Werner, Petra. "Ett medialt museum : lärandets estetik i svensk television 1956-1969." Doctoral thesis, Södertörns högskola, Estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30912.
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This thesis investigates the aesthetic interpretation of learning processes in television produced and broadcast in Sweden between 1956 and 1969. The thesis explores how these programmes are linked to concepts of Bildung by their aesthetics, by which the intangible cultural heritage is entrusted in the form of oral and visual traditions, storytelling and games/play, where learning is the common denominator. The programmes are divided into three categories: aesthetics of attentiveness, aesthetics of tale/storytelling and aesthetics of play. The detailed, thick, descriptions of the programmes emanating from the close-readings shall be, together with the aesthetic categories that I have formulated and expressed in a model, regarded as the survey’s key findings. The starting point of the central theoretical model of the thesis is André Malraux’s idea of an imaginary museum of imagination in which photo reproductions can constitute a collective memory, and thus bepart of an intangible heritage. Based on this idea of an imaginary museum, I have constructed a conceptual model called a medial museum, valid in its own time as well as for posterity. The theoretical models that the study gain support from are characterized by phenomenological and hermeneutical perspectives, as I refer to a phenomenological-hermeneutical method when analysing the programmes, and at the same time underline the phenomenological-hermeneutically based aesthetics in the analysed programmes, where aesthetic interpretation of learning processes in terms of attentiveness, tale and play is of a phenomenological-hermeneutic character. For a broad perspective on learning processes, theoretical support is acquired both from the German philosopher Hans-Georg Gadamer and his hermeneutic of traditions and from the French philosopher Jacques Rancière and his emancipatory ideas of pedagogy and aesthetics. Furthermore, the French philosopher Paul Ricœur and his thoughts on importance of storytelling for knowledge formation have had significant influence on the work. Regarding the concepts of play, I have made use of both Gadamer’s ideas of art experience as play and of Donald W. Winnicott’s theories about play as transitional area. In the programmes’ aesthetics is found a depiction of a broadened interpretation of Bildung, where processes of learning comprise a direct sensual perceiving, attentiveness, storytelling/tale and play. Moreover, within the programmes’ managing of an intangible cultural heritage, I have found an expression of an interplay between modernity and tradition, with emphasis on the historical significance of the present, and rooting in the past of everyday life, where expectation on the future and the memory of the past can co-exist. To summarise, the study suggests the possibility to understand aesthetics as an epistemology using sensuous experience as basis for a conceptual knowledge about how to understand the world. Thereby, one can comprehend aesthetics as pedagogy per se.
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Kuramoto, Emy. "A representação diruptiva de Diane Arbus : do documental ao alegorico." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284730.
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Orientador: Mauricius Martins FarinaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho procura investigar a obra da fotógrafa norte-americana Diane Arbus (1923-1971). Primeiramente abordando as principais discussões que se aninharam em torno dela, salientando o componente mítico-alegórico que a percorre, e, depois, divisando e discutindo, na forma de ensaios, alguns motivos e aspectos particulares às suas imagens. Estão em debate sua ruptura com o documentarismo clássico; os pontos de inflexão de sua carreira e de seu estilo representativo; o exercício irônico de sua fotografia; a criação de um universo próprio, a filiação com o carnavalesco; a presença renitente de fantasias e máscaras em seu trabalho ¿tanto no sentido estrito (como referentes) como no sentido metafórico¿; sua faceta paródica; os traços relativos à ambiência de suas imagens; e, por fim, seu percurso biográfico e profissional
Abstract: This work attempts to investigate the oeuvre of the photographer Diane Arbus (1923-1971). Firstly focusing on the main discussions that surrounded her, emphasizing the mythic and allegoric component that traverses her work and, subsequently, descrying and discussing, in the form of essays, some peculiar motifs and aspects of her images. We debate the rupture with the classic documentarism; the points of inflexion of her career and of her representative style; the ironic exercise of her photography; the creation of a particular universe, the filiations with the carnivalesque; the renitent presence of fancy dresses and masks in her work -as much in the strict meaning (as referents) as in the metaphoric sense-; her parodistic facet; the traits relating to her images¿s ambience; and, at last, her biographic and professional journey
Mestrado
Multimeios
Mestre em Multimeios
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Aroni, Maria. "The aesthetics of curating : exhibition-making after the conceptual turn." Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/39276/.
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The thesis examines the evolving realtions of the aesthetic and conceptual aspects in exhibition-making after the 'conceptual turn' that took place in the late-1960s and instigated key transformations in the aesthetic condition of art and contemporary curatorial practice. Drawing on a broadly construed and variously manifested conceptualism pervading the growing field of curating since 1990s, the thesis focuses on investigating the relation between the aestheti and conceptual dimensions of three exhibitions that have had a significant impact on the postconceptual development of curating. In doing so, it aims to construct an alternative genealogy that reaffirms the significance of the aesthetic element, and so to reconstruct curatorial practice from the perspective of an Aesthetics of Curating. This trajectory unfolds a non-unitary Curatorial Aesthetics that emerges and develops together with the conceptual shift offering a revisionist perspective to dominant practices and discourses today that tend to devalue or repress aesthetic modes of production. The driving force of the thesis is neither to affirm aestheticism nor simply reversing the received positions. Instead, the investigation of aesthetics - as the poetics of an exhibition and a philosophical understanding of the experience offered - provides a reading that contests the emphasis placed upon conceptualism in order to revise those relations and established assumptions, and enable us to understand contemporary aspects of curating that have been downgraded. The thesis focuses on three case-studies, which mark important shifts in the conceptual development of curating from 1969 to 2007: When Attitudes Become Form: Works-Processes-Concepts-Situations-Information (Live in Your Head), curated by Harald Szeemann. Kunsthalle Bern (1969); Les Immateriaux, co-curated by Jean-Francois Lotard and Thierry Chaput, Centre George Pompidou, Paris (1985); Documenta 12, under the artistic directorship of Roger Buergel and chief curatorship of Ruth Noack, Kassel (2007). By exploring the different ways in which these exhibitions accommodate, engage with, and define aesthetic experience in relation to their conceptual modes, the study provides an alternative account of Curatorial Aesthetics that attains its transformative potential and political efficacy in the present through the invention of new sensations that incite new modes of thinking and acting.
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Boniatti, Edina. "Vereda da Salvação e Terra para Rose: interfaces entre a escritura documental no teatro e no cinema." Universidade Estadual do Oeste do Parana, 2007. http://tede.unioeste.br:8080/tede/handle/tede/2467.
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This study has set out to investigate the documental form of the drama text Vereda da Salvação (1957-63) by Jorge Andrade and the film Terra para Rose (1987) by Tetê Moraes. The existing proximity between the aesthetics construction of both works allows the establishment of relation-ships between them, considering that, although they make part of distinct artistic forms, both are moulded within the aesthetic convention of the documentary and question the same theme con-tent. In Vereda da Salvação, the figurative content belongs to a messianic-millenary outbreak occurred in the countryside of Minas Gerais. During the Holy Week of 1955, tem families of ag-gregates converted to the Adventism of Promise, who worked under an agreement of partnership on São João da Mata farm owned by José Aarão Queirós, get involved in a collective mystical delirium and kill four children in order to set them free from a supposed demonic possession. In Terra para Rose, the film plot represents the taking over of the Annoni farm, occurred in 1985, by landless rural workers from Rio Grande do Sul. In the eighties this was one of the two thou-sand conflicts for the possession of land in Brazil. The film projects in first act the trajectory of Rose, landless rural worker, who dies in a manifestation of rural workers on March 31st 1987. The particularities of these happenings is the starting point for Jorge Andrade and Tetê Moraes reach the social, economic and political issues that involve the Brazilian rural situation. Note that the documentary genre comes up in the fifties as an answer to the fragmented form of facts pre-sented in the media, so that the formal elements that make up the poetics of the documentary aims at inserting the social episodes within the plot of the chain of factors that propelled them. Thus, this dissertation has attempted to exploit the correlations between history and fiction in the folds of the documental aesthetics in the drama text and in the film production. It has also investigated the formal aspects of the works and how they articulate syntactically to figurative content. From the comprehension that the portraits of the world depicted by the documentaries on screen, that distance temporarily thirty years from each other, do not present as inseparable ele-ments among themselves, they are analysed as shared frontiers, for both the struggle against the supernatural in Vereda da Salvação and the struggle for land in Terra para Rose testify the ag-gravation of the rural issue in Brazil, an unfinished theme in the national panorama.
Este estudo se propõe a analisar a forma documental do texto dramático Vereda da Salvação (1957-63) de Jorge Andrade e do filme Terra para Rose (1987) de Tetê Moraes. A aproximação existente entre a construção estética das duas obras permite o estabelecimento de relações entre elas, visto que, embora façam parte de formas artísticas distintas, ambas são plasmadas dentro da convenção estética do documentário e problematizam um mesmo conteúdo-temático. Em Vereda da Salvação, a matéria figurada pertence a um surto messiânico-milenarista ocorrido no interior de Minas Gerais. Na Semana Santa de 1955, dez famílias de agregados convertidos ao Adventis-mo da Promessa, que trabalhavam sob um acordo de parceria na fazenda São João da Mata de José Aarão Queirós, envolvem-se num delírio místico coletivo e matam quatro crianças para li-bertá-las de uma suposta possessão demoníaca. Em Terra para Rose, a trama fílmica representa a ocupação da fazenda Annoni, ocorrida em1985, por trabalhadores rurais sem-terra do Rio Grande do Sul, sendo este um dos dois mil conflitos pela posse de terras no Brasil da década de oitenta. O filme projeta em primeira plana a trajetória de Rose, trabalhadora rural sem-terra, que morre nu-ma manifestação de agricultores em 31 de março de 1987. As particularidades desses aconteci-mentos é o ponto de partida para Jorge Andrade e Tetê Moraes alcançarem as questões sociais, econômicas e políticas que envolvem a questão agrária brasileira. Note-se que o gênero docu-mentário insurge na década de cinqüenta como uma resposta à forma fragmentada da figuração dos fatos na mídia, de modo que os elementos formais que compõem a poética do documentário visa inserir os episódios sociais no entrecho da cadeia dos fatores que os impulsionaram. Dessa maneira, nesta dissertação, busca-se explorar as correlações entre a história e a ficção nas dobras da estética documental do texto dramático e da produção fílmica. Procura-se também investigar os aspectos formais das obras e como eles articulam-se sintaticamente ao conteúdo figurado. A partir da compreensão de que os retratos do mundo oferecidos pelos documentários em tela, que se distanciam temporalmente trinta anos um do outro, não se apresentam como elementos indis-sociáveis entre si, eles serão analisados como fronteiras compartilhadas, pois tanto a luta contra o sobrenatural em Vereda da Salvação quanto a luta pela terra em Terra para Rose testemunham o agravante da questão agrária no Brasil, tema inconcluso no cenário nacional.
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Sanchez, Carolane. "Ce qui fait flamenco : palimpseste d’une recherche-création avec Juan Carlos Lérida." Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCC024.
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Ma recherche tend à répondre à des questionnements ayant émergé durant ma pratique de la danse flamenco, depuis ma posture d’étudiante, d’interprète, de chorégraphe, puis de pédagogue. À travers la restitution d’une itinérance sensible entre Lyon, Séville, Madrid et la Chine, j’interroge dans cette thèse ce qui fait flamenco, réévaluant par une méthode déconstructiviste certains discours et gestes qui tendraient à définir ce qui fait centre (poncifs/vérités établies/stéréotypes) dans le flamenco, tout en créant une dialectique avec d’autres figures faisant, elles, d’apparents écarts. Sur ce second point, j’approfondis dans ma recherche plus spécifiquement l’approche flamenco empirique, qu’a élaborée Juan Carlos Lérida au cours de sa trajectoire artistique, afin de rendre compte de la façon dont certaines figures, à la marge du discours dominant dans le flamenco, interrogent l’élasticité des pourtours définitionnels de cette expression artistique. Mon cheminement pratique et théorique avec Juan Carlos Lérida m’a conduit à expérimenter une approche archéologique du geste flamenco en recherche-création, visant à interroger la dynamique de construction de la forme flamenco (identification de survivances formelles, pathos de la fête, poétique de la spirale) sur le plan diachronique et synchronique, mais aussi à m’ouvrir au « palimpseste » comme outil épistémologique. La démarche méthodologique investie pour mener la poétique exploratoire, dont cette thèse rend compte, en plus de l’exercice analytique, critique, s’est également employée à élaborer des objets-créations (performances, vidéos documentaire, vidéodanses, photographies) émanant de champs de compétences croisées afin de défendre une constitution heuristique des savoirs, grâce aux études des processus de création et la mise en réflexivité de l’expérienceMy research aims to answer questions that arose from practicing flamenco, initially as a student, then as an interpreter and choreographer and eventually as a teacher. After gathering insightful experiences from Seville, Madrid and China, my thesis addresses the question “what is flamenco?”. Via a deconstructionist method, this study re-evaluates some of the conceptions and body language that tend to define what is central to flamenco (clichés / established truths / stereotypes), while analysing the dialectics of figures who clearly deviate from these central ideas. Thus, my research explores in greater depth and more specifically the empirical approach developed by Juan Carlos Lérida during his artistic career, for a better understanding of how figures straying from the dominant conception of flamenco, test the elasticity of the outer limits of this artistic expression. My practical and theory-based exploration with Juan Carlos Lérida led me to experiment with an archaeological approach to research-creation in flamenco dance, that aimed to analyse the way flamenco expression has developed (identification of the survival of forms, the festive pathos, the poetics of the spiral movement) from both a diachronic and synchronic perspective, but also to embrace the “palimpsest” as an epistemological tool. The methodological approach that led to the exploration of poetics described in this work, along with the analytical and critical exercises, also incited a range of multi-disciplinary creative projects (performances, video documentaries, dance videos, photographs) that defend the heuristic method of gathering knowledge via studying creation processes and reflecting on experiences
Este trabajo pretende responder a ciertas cuestiones que me surgieron en la práctica del baile flamenco siendo estudiante, intérprete, coreógrafa y pedagoga. A través de una restitución de un itinerario sensitivo entre Lyon, Sevilla, Madrid y China, analizo en esta tesis lo que hace que algo sea flamenco reevaluando, mediante un método deconstructivista, ciertos discursos y gestos que buscan definir lo central (tópicos, verdades establecidas, estereotipos) en el flamenco, creando una dialéctica con otras figuras que aparentemente discrepan. En este segundo punto, profundizo en mi investigación más concretamente en la aproximación flamenco-empírica elaborada por Juan Carlos Lérida a lo largo de su trayectoria artística, con el fin de demostrar en que manera ciertas formas al margen del discurso flamenco dominante cuestionan la ductilidad de la definición de esta forma artística. Mi andadura práctico-teórica con Juan Carlos Lérida me ha permitido experimentar una aproximación arqueológica respecto al gesto flamenco en un proceso de investigación-creación con vistas a analizar la dinámica de la forma flamenca (identificación de vestigios formales, pathos de la fiesta, poética de la espiral) desde un punto de vista diacrónico y sincrónico, posibilitando al mismo tiempo a abrirme al “palimpsesto” como herramienta epistemológica. La metodología usada para llevar la poética exploradora expuesta en esta tesis también se ha empleado, además del ejercicio analítico, crítico, para elaborar objetos-creaciones (performances, documentales, video-danza, fotografía) resultantes de campos de competencia cruzados con el fin de defender una constitución heurística de los conocimientos gracias al estudio de los procesos de creación y la reflexión acerca de la experiencia
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Machado, Katia Regina. "Un regard à double égard sur la misère du monde. Analyse des effets de la forme esthétique des images photographiques de Sebastiao Salgado." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030098.
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L’œuvre photographique de Sebastião Salgado, qui focalise la condition de vie des personnes affectées par la souffrance sociale causée soit par la guerre, soit par l’exploitation et la misère, prime par la qualité de la composition esthétique, mais ses images ne sont pas produites dans le contexte de la photographie d’art. Elles s’inscrivent dans la catégorie de la photographie documentaire et leur finalité discursive est la dénonciation sociale. Une part des spécialistes de l’image et des sciences humaines et sociales estiment que ses images ne peuvent pas servir à un tel propos, car leur caractère artistique déforme la vérité de la réalité représentée. L’autre part, en revanche, considère que c’est justement de la forme esthétique qu’elles tirent leur force de communication sociopolitique. Il s’agit du vieux débat sur le rapport entre esthétique et politique réactualisé par la question contemporaine du rôle sociopolitique des représentations médiatiques de la souffrance sociale. Pour constituer notre corpus analytique nous nous sommes servis d’un échantillon d’articles des spécialistes, publiés dans la Presse, dans lesquels on trouve un discours argumenté pour ou contre l’approche photographique de Salgado. La mise en confrontation des argumentations d’opposants et de partisans a permis non seulement de faire une sorte de mise en épreuve de la pertinence des concepts théoriques évoqués en soutien, mais aussi de mettre en évidence les apriori éthiques, sociologiques et politiques qui sont à la base des jugements qui indiquent si l’on doit considérer l’approche énonciative de Salgado comme une bonne ou mauvaise façon de représenter la misère du mondeThe photographic work of Sebastião Salgado focuses on the living conditions of people affected by social distress resulting from civil wars, exploitation, and misery. The pictures are characterised by the quality of their aesthetic composition but they are not primarily works of art. They are rather documentary pictures that represent a social denunciation of intolerable living conditions. Some social scientists specialised in photo interpretation think that his pictures still exhibit too many characteristics of art work and might therefore deform reality. However, others are convinced that just this aesthetic approach constitute its particular strength in sociopolitical communication. The contrasting views reflect the old debate on the relation between politics and aesthetics recently revived by the discussion on the socio-political role of the media in the presentation of social distress. This thesis is based on a representative sample of articles published in print media in which arguments for and against the photographic approach of Salgado are presented. The analytic comparison of the opposed arguments allows an evaluation of the related theoretical concepts. It also reveals an a priori basis of the related ethics, aesthetics, sociology, and politics indicating whether the denouncing character of Salgado pictures is representing an adequate approach to communicate the misery of the world
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Dias, Ana Paula Penkala. "Um campo de concentração brasileiro : marcas enunciativas do mal-estar e da violência nas instâncias formal e diegética de Cidade de Deus." Universidade do Vale do Rio do Sinos, 2006. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2606.
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A violência é um dos aspectos mais apontados quando se trata do cinema brasileiro atual. Cidade de Deus é, dentro desse universo de discursos violentos e sobre a violência, um dos filmes nacionais mais desconfortáveis da atualidade, não apenas porque fala de um mundo de criminalidade, pobreza e exclusão, mas por mostrar histórias reais. Se não reais no sentido estrito, daquilo que de fato aconteceu; reais porque acontecem todos os dias nas grandes cidades deste País. Esta investigação aponta, já de início, dois tipos de enunciação em Cidade de Deus, permeadas pela violência e pela representação da alteridade: a estética publicitária e o discurso documental. A pesquisa apresentada aqui é o resultado de um trabalho que pretendeu lançar um filete de entendimento a respeito de como esse filme é construído de modo a causar-nos tanto desconforto; como pode a diegese e a forma desse filme, articuladas, provocar a sensação de mal-estar que pairou sobre as platéias do Brasil e do mundo quando Cidade de Deus foi exibid
The violence is one of the most remarkable aspects about contemporary brazilian cinema. Cidade de Deus (City of God) is, in this universe of violence and of violent discourses, one of the most uncomfortable national movies of nowadays, not only because it tell us about a world of criminality, poverty and exclusion, but because it shows real stories. If they are not real in the strict sense, of the facts that really happened; they're real because they happen all the time in big cities of this country. This investigation points to, already on a first moment,two types of enunciation in City of God, permeated by violence and by the otherness representation: the advertising aesthetics and the documentary discourse. The research presented here is the result of a work that intended to bring a ray of understanding concerning to how this film is constructed in order to discontents us; how could the diegesis and the form of this film, articulated, provoke the sensation of uneasiness (discontent) that hovers over the
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Jesus, Rosane Meire Vieira de. "Aprendizagem frame a frame: fascínios e armadilhas do uso do documentário na práxis pedagógica." reponame:Repositório Institucional da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/11140.
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Esta dissertação de mestrado, numa abordagem qualitativa, discute, a partir de relatos e observações diretas, os significados e sentidos que os professores atribuem ao uso do documentário na sala de aula. Bem como analisa sua utilização pedagógica como possibilidade de aproximar, através de uma experiência estética, a educação escolar a uma práxis. Para tanto, investiga a intensa familiarização do espectador-aluno e do espectadorprofessor com a cultura das mídias, a qual (re)configura os modos de apreender o mundo, de organizá-lo e de expressá-lo, devido ao crescente desenvolvimento das Tecnologias de Informação e Comunicação. Historiciza o conceito de documentário e seus nexos com a educação formal. Reconhece a estreita relação entre forma e conteúdo na obra fílmica, examinando as várias formas de representação do documentário como construção estética de uma visão sobre a realidade concreta.
Salvador
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Hensley, Jordan C. "La Guerra Civil Española en la memoria histórica: Una conversación continua con el pasado." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1432737918.
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Voorhies, James Timothy Jr. "Falling from the Grip of Grace: The Exhibition as a Critical Form since 1968." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340212498.
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Chien-Chih, Lin, and 林建志. "The Study of Social Critical Aesthetics for Teaching of Documentary Production." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/k44t8r.
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博士國立彰化師範大學
教育研究所
102
This study, as action research, proceeded qualitatively, exploring how social critical aesthetics was applied to documentary production teaching, analyzed the effectiveness of the application, and finally surfaced the teaching difficulties and found answers to them. Thirty junior students of a university of science and technology were selected as participants. Based on teaching units, the authors designed 4 kinds of unit worksheets, and, through them, the assessment period lasted for 16 weeks. Data collection was implemented in multiple ways, inclusive of classroom observation, teaching notes of reflection, learning records, reflection and feedback of students, and interviews. Findings are as follows: 1) curriculums designed based on social critical aesthetics can offer students opportunities to critical thinking and learning, to meet student needs, to achieve the teaching goals, and assess students’ learning performance in varied ways. 2) The processes of teaching implementation encountered difficulties including students’ passive learning attitudes feeling bored with theoretical lectures, and ineffective time management in the class. The improving strategies focused on time management, peer dialogues and discussions, and establishing network platform of shared opinions. 3) Applying social critical aesthetics to documentary production teaching can effectively enhancestudents’ critical thinking; to imagine socially and widely, to understand the potential influence of art upon the society, as well as to produce the documentaries centering on issues that can socially criticize our world. Based on the findings, the suggestions for the teachers, and future researchers were also made in this study.
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Shiao, Shu-Ru, and 蕭淑如. "Fragments of Everyday:A Study of Ting-Fu Huang 's Documentary Aesthetics." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/m6bcyx.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
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The development of Taiwanese Documentary was closely related to the lifting of Martial Law in 1987. Early on this time, the documentary artists tried to play the typical role of reality recorder. But in 1990, a project called Floating Island discovered more aesthetical possibilities for the documentary images. Ting-Fu Huang is one of the pioneers in Floating Island, and a documentary artist who had lived through the time of the end of Martial Law. This thesis focuses on his three films, 03:04, Nail, and Island. Discovering how he worked out of the box of traditional documentary genre and brought more possibility and thoughts from the fragments of everyday life images.
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Lin, Mei Lin, and 林美玲. "On the three human characteristics of educational aesthetics from new documentary Lens: neurological, artistic and spiritual." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/ee7h2e.
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博士國立政治大學
教育學系
106
This study borrows ‘the New Documentary’, the most important evolution in the photography history, as a metaphor to presuppose and advocate ‘the Lens’ as a diverse vision of education aesthetics under its post-modern context. It is utilized as a way to perceive the life (Neurological), the formation (Artistic), and ecology (Spiritual) of education. In this study, a series of the New Documentary work has been created. Two decades’ research on visual brain and meditation in neuroscience has been reviewed. The researcher also inquired into the artists’ journey of praxis and criticized numerous art reviews. Moreover, a series of Cooperative Mandala Coloring work has been redesigned based on the researcher’s years of practical teaching experience. This Cooperative Mandala Coloring, an expressive artistic activity, is adopted in present study to reflect Jungian Psychology’s theory of synchronicity, deduce the spiritual and ecological perspectives of new age, and interpret the phenomenology. The results of the present study particularly focus on adolescents’ spirit flux in neuro-aesthetics, art praxis, and spiritual development. The researcher proposes friendly safe space and spiritual experience in flow. It is also suggested that young individual’s expressed needs be fulfilled through artistic activities and altruistic aesthetic experience be created through relationships with others.
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Lin, Yi, and 林. 宜. "Aesthetics Form of Literature Documentary: “Home in Two Cities”, “A Life Time in Chinese Literature”, “My City”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/dd93zg.
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碩士國立清華大學
台灣文學研究所
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Research of literature documentary in Taiwan has been quite rare. In contrast to writing, video inclusive of sounds and images could provide much more messages to audience. Research of literature documentary may create a new way to analyze Taiwan literature. The purpose of study is discussing aesthetics form of literature documentary and how literature documentary directors represent writers and their literary achievements. Choose three literature documentaries of “The Inspired Island” and “The Inspired Island Ⅱ”for examples: “Home in Two Cities”, “A Life Time in Chinese Literature”, “My City”.
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Fu, Ming-Chi, and 傅明淇. "A Study of Relationship among Photographic Aesthetics, Customer Satisfaction and Price Consciousness on Wedding Documentary Photography in Taipei." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/4gav4c.
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碩士國立臺北教育大學
文化創意產業經營學系
102
With the affordable access to digital photographic equipment, there are more and more amateur professional photographers providing wedding documentary photography services. Some wedding photographers offer lower rate to increase the number of cases, resulting in customers’ misunderstanding in the market rate. On the other hand, photographers and customers usually have different visual perception. Therefore, giving consideration to customer satisfaction and decent profit for the photographers is one of the essential topics of the wedding photography industry. The thesis researched the relations among photographic aesthetics, customer satisfaction and behavioral intentions in Taipei from customer’s perspective. The purpose is to: (a) understand the status of wedding photography industry in Taipei, including service level and pricing; (b) analyze the variety in demographical factors to photographic aesthetics, customer satisfaction and behavioral intention, and (c) the moderating effect of price consciousness to customer satisfaction and behavioral intention. The result finds: (a) with different age, education level and income, there is substantial distinction in purchasing willingness and price consciousness; (b) in the direct effect, the higher photography satisfaction, the higher customer satisfaction, including service quality and value-added service. There is positive correlation between customer satisfaction and customer behavior, including purchasing intention and word-of-mouth; (c) the price consciousness effect on customer satisfaction and behavioral intention was not significant. The study depicts the target customers of the wedding photography market and provides photographers practical benefits.
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Baumbach, Nicholas. "Impure Cinema: Political Pedagogies in Film and Theory." Diss., 2009. http://hdl.handle.net/10161/1621.
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Impure Cinema: Political Pedagogies in Film and Theory asks what are the ways that the politics of film theory have been conceptualized since the era now known as "70s film theory." In particular, it analyzes the writings on cinema, politics and art by contemporary French philosophers Alain Badiou and Jacques Rancière in relation to the influential approaches of Louis Althusser and Gilles Deleuze and to theories of documentary cinema. I argue that unlike the political modernism of 70s film theory and the post-theory turn of 90s film studies, Badiou and Rancière offer an approach to film theory that neither assumes that all films are political, nor that politics underdetermine theory, but rather suggests that we analyze both theories and films in terms of how they construct connections between cinema and politics. Following Deleuze, I call these connections "pedagogical" not because they transmit knowledge but because they always involve a new kind of connection or relation that seeks to transform habitual ways of seeing, saying or doing. For Badiou and Rancière this is based on a conception of cinema as "impure." Cinema, they argue, is never free of elements from other arts or daily life, but it is this impurity that is the grounds for linking its artistic and political possibilities. I look at various film forms that highlight cinema's impurity, in particular the "actuality" and how it has been reappropriated in various forms of documentary and essayistic practices as a way of giving cinematic form to questions of political equality.
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Rogers, Pamela A. "Aesthetic learning : an exploration of a radical aesthetic in feminist documentary film." Thesis, 1996. http://hdl.handle.net/2429/4670.
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This study emerged from a curiosity about the powerful affect of feminist
documentary film and an interest in transformative learning approaches. Three films of
Studio D—the former feminist production unit of the National Film Board of Canada
[NFB] were explored: Goddess Remembered (1989), Burning Times (1990), and Full Circle
(1992). For methodology, I used an adaptation of autobiography, film and literary
criticism and I explored the aesthetics of these films. Beginning with an in-depth look at
the characteristics and criticisms of feminist documentary film, I identified the feminist
perspective as having a transformative influence on traditional documentary styles. In
my analysis, I defined and articulated the aesthetic quality of the films. This quality is
defined as a radical aesthetic. The definition also includes a suggestion that an asethetic
experience is spatial. I argue that the radical aesthetic, in its spatiality and feminist
analysis, is able to evoke yearning, creative inspiration and a sense of place in viewers,
particularly women. The analysis identifies the characteristics of the radical aesthetic
and the significance of this on transformative learning experiences for women. The study
claims that this radical aesthetic enhances two crucial stages in transformative learning.
One, since an aesthetic experience is spatial, a space in which a learner can think,
imagine and act is created. Two, in its provocative quality, a radical aesthetic assists
women to become aware of and connected to a subterranean layer of self-knowledge that
is seldom acknowledged in typical transformative learning approaches. I discuss the
importance of this layer of knowledge in stimulating and sustaining transformative learning. Implications for practice include a discussion on the need to understand the
role and the power of aesthetics in learning. Here a set of questions was created that
can be used to explore the aesthetic experience of other films. Recommendations were
made for further study on the relationship of aesthetic learning and feminist pedagogy.
Given the spatial experience of aesthetics and the importance of space for women, other
research was suggested to look at the role of place in learning.
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CHEN, YI-FEI, and 陳帟霏. "The Research in Aesthetic Value of Tattoo by Documentary." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/81296175849942776825.
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碩士國立屏東大學
視覺藝術學系碩士班
105
Tattoo is a mysterious and beautiful culture. Whenever we have a factual discussion about tattoo, it tends to appear as something with a blurred version or negative image . The entry point of this case study, from using documentary image to convey tattoo aesthetics, we hope that the society and publics can use my resources, to have a different perspectives towards Tattoo culture. My case study base on literature analysis to investigate the tattoo culture, to understand the popularity of tattoo culture and its style expression. The foundation of video making is based on the explanation of the documentary film. I gain experience from analyzes the styles of tattoo-related documentary. By using expert interviews with the people getting tattooed, tattoo masters and those people who not yet get tattooed, I become familiar with the background and network of the tattoo history. Above all enabled me to learn experiences to be the basis of my research. Through integration of this study, the director present a documentary flim which show the tattoo world in the realistic environment for us to watch and understand. According to the interviews, it shows the culture difference between the south and the north of Taiwan, along with the dilemma of tattoo culture. This study introduced how to understand the tattoo aesthetic methods of different ethnic groups. And let the viewers use the perspective of the film to show the beauty of tattoo art.
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Cardoso, Maria de Fátima Lopes. "A Fotografia Documental na Imprensa Nacional: o Real e o Verosímil." Doctoral thesis, 2015. http://hdl.handle.net/10362/14494.
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Nos últimos trinta anos da imprensa nacional, assiste-se a inúmeras mudanças no papel que a fotografia assume nas práticas editoriais dos jornais, influência da crescente generalização da fotografia digital. No final da década de 80 e início de 90 do século XX, investe-se na fotografia e compreende-se porquê. Ela é uma ferramenta poderosa para a criação de uma identidade editorial e para fidelizar leitores. Nunca a autoria do fotógrafo fora tão reconhecida nas redações como neste período, geralmente, sem comprometer o ideal do rigor jornalístico. A partir do século XXI, assiste-se a uma regressão.
Esta tese pretende investigar a importância que foi atribuída à fotografia e ao fotojornalismo na imprensa, nas últimas três décadas, procurando determinar qual o grau de consciência que o fotógrafo tem das escolhas assumidas no ato fotográfico; como é que as opções do autor interferem na imagem final e como é que a fotografia jornalística lida com a questão do real e do verosímil? Para responder a estas e outras perguntas realizou-se noventa entrevistas que foram depois submetidas a uma análise qualitativa.
Por mais consciência que o fotógrafo tenha da necessidade de ser objetivo e de retratar a verdade do acontecimento, pessoa ou lugar, a fotografia de imprensa é sempre a perspetiva de alguém que escolhe fragmentos da realidade para reportar ou documentar um acontecimento. O observador, com um olhar ingénuo e sem adotar uma atitude crítica perante a mimese do real, recebe a imagem como sendo a prova irrefutável de um momento que o texto, por si só, não consegue autentificar. É como se o Homem precisasse da legitimação visual para encontrar o seu lugar no mundo e nem a facilidade de edição na era do digital parece retirar à fotografia a crença numa verdade que os olhos não puderam testemunhar.
Ironicamente e contra a ideia do senso-comum, a História prova que a dupla essência da fotografia de ser espelho e construção do real - mesmo na imprensa - não resiste à adulteração. Seja instrumentalizada pelo poder, seja para criar dramatismo ou atribuir heroicidade em determinadas cenas, em vez do registo da realidade, a fotografia mostra uma realidade verosímil. A História também demonstra que essa subversão acontece, mas não é um procedimento consciente. Isto porque o fotógrafo de imprensa assume diversas escolhas subjetivas de enquadramento, foco e composição sobre uma cena, não com o intuito de manipular, mas para arrumar o seu olhar sobre o mundo e mostrar o acontecimento numa moldura talhada pelo código ético e deontológico da profissão e pela linha editorial do órgão de comunicação onde exerce funções. Acima de tudo, esta investigação ambiciona confirmar se a confiança que o público deposita na imagem jornalística lhe é merecida
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Pontay, Féroë. "Pour une nouvelle esthétique du documentaire écologiste." Thèse, 2017. http://hdl.handle.net/1866/20177.
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