Dissertations / Theses on the topic 'Monstres – Au cinéma'

La présente thèse propose une réflexion sur la représentation de la monstruosité au cinéma en questionnant le rôle potentiel que revêt la monstruosité dans l'émergence de la corporéité. Considérant l'expression de la monstruosité, elle se propose de la prendre en compte à travers l'étude de deux figures principales du monstre- le monstre naturel et le monstre moral- et de leur mise en scène dans un corpus d'oeuvres constitué par les films : "Freaks" de Tod Browning, "Elephant Man" de David Lynch, "Dead Ringers" de David Cronenberg, "Les yeux sans visage" de Georges Franju et "M" de Fritz Lang. Si le cinéma rend l'homme visible, l'appréhende et le réinvente en le figurant, il révèle non seulement l'humain mais l'inhumain. La présence des monstres au cinéma témoigne de cette intérêt à l'égard de l'inhumain tout en introduisant la représentation de corps ainsi que d'êtres qui bouleversent les normes et les canons édictés. . .

La thèse propose une approche du cinéma fantastique espagnol des années 1990 et 2000, et plus spécifiquement de la période allant de 1993 à 2005. En effet, on assiste alors à l’arrivée d’une nouvelle génération de réalisateurs qui donne un nouvel élan au genre en se le réappropriant. Nous partons du constat initial qu’au sein des diverses approches du genre présentes dans chacun de ces films, le fantastique espagnol semble privilégier l’apparition de trois incarnations du surnaturel : le fantôme, le slasher et le monstre. Notre étude se penche sur chacune d’entre elles afin de dégager quelles sont les lignes de force qui les structurent. Pour cela, nous nous servons de la notion de figure, qui à partir de l’étude de la représentation cinématographique des corps, permet également de déterminer quels sont les enjeux thématiques qui y sont associés, ainsi que la reconfiguration particulière que chacune d’entre elles opère sur le genre fantastique
This thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre

La critique traditionnelle oppose le fantastique en littérature et le fantastique au cinéma, dichotomie le plus souvent assimilée à la paire fantastique herméneutique/fantastique de la monstration. Or, ces frontières ignorent la mixité des discours dans les oeuvres. Même si ce corpus est cinématographique (le fantastique esquissé ici est proprement iconique et cinématographique), la théorie littéraire joue ici un rôle important. Le dénominateur commun aux films présentés dans ce travail se situe donc dans leur façon de renouveler le discours sur le monstrueux en refusant la lisibilité du stéréotype propre au fantastique de la monstration, et en déjouant les repères interprétatifs de l'énonciataire. C'est pourquoi à l'objet du fantastique ludique a été opposé l'objet fantastique qui bouscule l'horizon d'attente du spectateur. Ces deux modalités ont été étudiées dans Dracula (Tod Browning, 1931) et dans King Kong (Shoedsack et Cooper, 1933). Cependant, l'objet fantastique a été particulièrement analysé dans Frankenstein (James Whale, 1931) mis en parallèle avec Caligari (Robert Wiene, 1919) auquel il est souvent comparé. Frankenstein a également permis d'engager une réflexion sur la représentation du corps de l'acteur à l'écran. A partir du corps du monstre et de son apparent opposé, le corps de la star, nous avons trouvé des points de tension entre le masque du monstre et celui de la star. Cette recherche a été illustrée par l'analyse de Sunset Boulevard (Billy Wilder, 1951). L'étude du cinéma classique s'est alors prolongée par une analyse des nouvelles donnes de la représentation du corps monstrueux, que ce soit dans le sens de sa disparition (les monstres de Body Snatchers, Don Siegel, 1956) ou de sa surenchère graphique (Suspiria, Dairo Argento, 1977). Dans les deux cas, ces deux études ont analysé la représentation du monstrueux en marge des discours généralement proposés sur le genre, et interrogé les rapports entre ces nouveaux corps et le spectateur
Critical tradition opposes the fantastic in literature and the fantastic in the cinema, a dichotomy which in essentially one of a fantastic hiding its object, and one displaying it. This distinction fails to take into account the plurality of discourses at play within the works under discussion. Even if the works dealt with here are cinématographic (the fantastic of the present study is primarly an iconic and cinématographic, the literary theory has an important role. The common denominator of the films presented inthis study lies in their way of renewing the traditional discourse of the monstrous by refusing the stereotypes of the cinématographic fantastic, and by challenging the interpretative codes of the viewer. A distinction is thus made between the fantastic object, which upsets the viewer's expectations and the object of the fantastic, which confirms the rules of the discourse and allows the spectator to play with them. Thses two aspects of the fantastic are studied in Dracula (Tod Browning, 1931), and King Kong (Shoedsack et Cooper, 1933). The fantastic object is also analysed in Frankenstein (Whale, 1931), together with Caligari (Robert Wiene, 1919), and their customary similarities questioned. Frankenstein is the starting point of reflection on the representation of the body of the actor. From the opposition of monster and star, points of contact emerge which permit the demonstration of the essential unity of the two concepts. This analsysis finds a resonance in Sunset Boulevard (Billy Wilder, 1951). Following the study of the classical cinema, an analysis of the new parameters in the representation of the monstrous body has been undertaken, whether in it disapperance (Body Snatchers, Siegel, 1956), or it graphic excess (Suspiria, Argento, 1977). These studies analyse the representation of the monstrous from a different perspective to that generally held in the fantastic as a genre, and question the links between, these new bodies and the viewer

Le corps infirme dans le cinéma de David Lynch traduit le paradoxe qui existe entre la figure de l'infirme et la notion d'esthétique, entre le sacré et le profane, entre la prédestination et le libre arbitre. Il provoque le questionnement. Il est interface. Le corps infirme devient un motif en art, en particulier en peinture. Le discours filmique sur le corps infirme doit s'entendre aussi comme un discours religieux dans lequel s'opposent image et parole inscrites dans la tradition de la lecture réformée du texte biblique. Dans cette querelle, le destin de l'homme infirme apparaît dans toute sa réalité. Il a une destinée qui se confond avec la réalité de l'espace-temps de la société étatsunienne. Le territoire est traité symboliquement comme l'espace où peut se réaliser le projet de l'infirme. La ville est un lieu de perdition alors que la campagne incarne la grandeur biblique qui accompagna les premiers émigrants. Dans cette opposition, le labyrinthe peut être étudié comme une figure narrative : un objet apotropaïque qui se présente comme lieu de l'enfermement. Les héros et les antihéros lynchéens sont porteurs de valeurs qui s'inscrivent dans une triple tradition : la tradition homérique, la tradition judéo-chrétienne, ainsi que celle issue de l'Histoire américaine. Dans cette Histoire, le territoire doit être entendu comme un espace de socialisation. Le rapport entre l'espace et l'infirme pose la question de son intégration au monde. Et la relation de l'infirme au monde se lit au regard de la querelle qui oppose la théorie du créationnisme à la théorie darwinienne de l'évolutionnisme, théories qui induisent l'acceptation de l'autre dans sa différence. Dans les trois films, cette question est posée et la réponse que donne Lynch et pour chacun d'eux différente
The disabled body in David Lynch's cinema mirrors the paradox which exists between the figure of the cripple and the notion of aesthetics, between the sacred and the profane, between predestination and free will. It calls for questioning. It's an interface. The disabled body becomes an artistic motif, particularly in painting. The film discourse as far as the crippled body is concerned must also be understood as a religious one in which the image and the word are opposed in the tradition of a reformed reading of the Bible. In this argument, the cripple's destiny appears in all its raw reality ; her destiny embodies the space-time reality of society. Territory is seen symbolically as the space in which the cripple's own project can be realised. The town is a place of perdition whereas the country embodies the biblical grandeur which welcomed the first settlers. In this opposition, the labyrinth can be studied as a figure of speech in the narrative : a protective space which can also be seen as a place of confinement. The heroes and antiheroes in Lynch's works are imbued with values inherited from a triple tradition : the omeric, the Judeo-Christian as well as that inspired by American history. In this history, their notion of territory is to be seen as a place for socialisation. The relationship between space and the cripple raises the issue of his/her integration into the world. And the relationship of the cripple to the world can be read in the light of the argument opposing creationism and Darwinism, two theories which lead to accepting the other in all his/her difference. The three films broach this question and Lynch gives a different answer in each

De 2000 à 2009, l'industrie du blockbuster hollywoodien a produit en moyenne trois films de super-héros par an. Adaptant pour le cinéma ces personnages issus de la bande dessinée, elle va modifier et accentuer certaines de leurs particularités, en faisant des créatures hybrides, tenant à la fois du héros d' action et du monstre. Autour de cette double origine, nous réfléchissons à la constitution duelle de ce nouveau héros de cinéma en interrogeant les récurrentes thématiques et visuelles de ce personnage, son rapport à son original et au cinéma d' action qui lui est contemporain afin de faire émerger la poétique intranquille qui les anime.

Le cinéma de Tim Burton se reconnaît par des codes thématiques et des images si aisément identifiables que le nom du cinéaste a donné naissance à l’adjectif « burtonien ». Que signifie au juste ce qualificatif ? Cette thèse se propose de démontrer que si la signature de Tim Burton est reconnaissable entre toutes, c’est qu’elle porte l’héritage des gothiques littéraire et cinématographique. Burton s’en empare pour les transformer, adoptant une double stratégie d’adhésion et d’inversion des tropes du genre. Afin de définir ce gothique burtonien, nous étudions dans un premier temps le croisement entre l’humain et le monstrueux, un questionnement directement hérité du Frankenstein de Mary Shelley et de son adaptation éponyme par James Whale en 1931. Nous analysons ensuite la géographie de l’espace burtonien et sa représentation d’une société cruelle et machinique dont les personnages doivent s’extraire pour survivre. L’art émerge comme un moyen de survie ambivalent qui nous mène à considérer la création artistique du cinéaste lui-même, bâtie comme les grandes œuvres gothiques sur un brouillage des frontières, entre la vie et la mort, le passé et le présent, le rêve et la réalité
The films of Tim Burton can easily be recognized by their thematic codes and identifiable images so much so that the director’s very name has given birth to the adjective “Burtonian”. But what does it qualify exactly? This dissertation proposes to demonstrate that Burton’s signature is particularly recognizable because it inherits from gothic literature and film. Burton tackles and transforms gothic tropes using a double strategy of adherence and reversal. To define what we call the “Burtonian gothic”, we first study the crossing between the humane and the monstrous, an issue directly inherited from Mary Shelley’s Frankenstein and its film adaptation by James Whale in 1931. We analyze then the geography of the Burtonian landscape and its representation of a cruel and mechanical society from which the characters must escape to survive. Art emerges as an ambivalent means of survival which leads us to consider the artistic creation of the filmmaker himself, built like great gothic works on blurred frontiers, between life and death, past and present, dream and reality

Made available in DSpace on 2016-03-15T19:42:22Z (GMT). No. of bitstreams: 1 Veronica DAgostino Piqueira.pdf: 959865 bytes, checksum: af3af03c97b9613293c5dcfac01b96ee (MD5) Previous issue date: 2013-01-23
Universidade Presbiteriana Mackenzie
Hoping to contribute to broaden the discussion on the issue of popular American cultural imaginary, the objective of this dissertation is to reflect on the concept of normality and abnormality featured in the movie Freaks (1932), dedicated to the representation of the social and cultural universe of sideshows. We will present the influences that pierced the way director Tod Browning, searching referrals for the formation of his author cinema in his history since his youth as itinerant artist until the dimension of slapstick actor, director and writer of his own films. We'll also discuss some of the reasons that led to the emancipation of the horror genre during the Great Depression, seeking aesthetic, literary and political references in the narrative of his major classics. Based on these studies, this research transits in an interdisciplinary way by languages History of Culture and Film, presenting an encounter between monsters and humans and the way how they are expressed in the body exposed in Freaks.
Esperando contribuir para ampliar as discussões sobre a questão do imaginário cultural popular americano, o objetivo da presente dissertação é refletir sobre o conceito de normalidade e anormalidade apresentado no filme Freaks (1932), dedicado à representação do universo social e cultural dos sideshows. Apresentaremos as influências que transpassaram o caminho do diretor Tod Browning, buscando referências para a formação do seu cinema autoral em sua história vivida desde a juventude como artista itinerante até a dimensão como ator de pastelão, diretor e roteirista de seus próprios filmes. Discutiremos também algumas razões que levaram à emancipação do gênero de horror no período da Grande Depressão, buscando referências estéticas, literárias e políticas na narrativa de seus principais clássicos. Baseando-se nesses estudos, esta pesquisa transita de forma interdisciplinar pelas linguagens História da Cultura e Cinematográfica, apresentando o encontro entre monstros e humanos e o modo como são expressos no corpo exposto em Freaks.

In this thesis, I examine metamorphic monsters and their landscapes as representatives of madness, offering a new framework for understanding the horror genre. I argue that parallels between these entities in twenty-first century American and British horror cinema evoke madness (the dramatic counterpart of mental illness), which can transform everything it touches, including identity, body and landscape. This thesis builds on work by, among others, Bellin, Tudor, Frayling and Clover, developing their theories to propose a new analysis of the metamorphic monster as a figure of madness. I apply Freud himself and writers using Freudian psychoanalytic frameworks, including Caruth's work on trauma and Wood's reading of the return of the repressed. I also use personal observations of mental illness and the testimonies of others, noting similarities between monsters and dissociative disorders. In Chapter One, I develop a taxonomy of madness in horror, proposing three categories of insanity corresponding to metamorphic monsters: 1) Feral State (wildness) and werewolves; 2) Tabula Rasa State ("blankness") and zombies; and 3) Fractured State (aloofness) and vampires. This thesis argues that madness reverses classic psychoanalytic traditions of examining trauma from the outside-in, as the excess of madness forces trauma onto the surface. Therefore, Chapter Two studies the body as a reflection of madness, utilising the work of critics such as Garland-Thomson and Sontag. In Chapter Three I propose that madness can create a delusional landscape: a deceitful world that sutures the spectator into insanity. I develop a model mapping madness onto landscapes based on shared characteristics between them: Feral/wild spaces; Tabula Rasa/dead spaces; Fractured/fragmented spaces. Chapters Four and Five utilise this model to explain relationships between monster and landscapes. Chapter Five applies the work of Lowenstein and explores the link between historical trauma and madness to argue that post-traumatic syndromes of conflicts in Afghanistan and Iraq manifest in desert landscapes populated by zombies.

Aquesta tesi investiga la construcció i representació del monstre masculí en el cinema de ciència ficció contemporani. El monstre masculí en aquest cas és un home que experimenta una metamorfosi que trenca els binaris com, per exemple, masculinitat/feminitat, jo/altre i humà/maquina. Els cinc capítols examinen cince figures de masculinitat monstruosa: el mutant, el ciborg subjugat, el ciborg poderós, l’alienígena i el transhumà. Al cap i a la fi, la tesi pregunta per què els personatges masculins pateixen transformacions profunds, i normalment dolorosos, tan sovint a la gran pantalla.
Esta tesis investiga la construcción y la representación de los monstruos masculinos en el cinema de ciencia ficción contemporáneo. El monstruo masculino en este caso es un hombre que experimenta una metamorfosis que resulta en la confusión de las categorías binárias cómo, por ejemplo, masculinidad/feminidad, humano/maquina o yo/otro. Los cinco capítols consideran cinco figuras de monstruos masculinos: el mutante, el cíborg subyugado, el cíborg-villano poderoso, el alienígena y el transhumano. La pregunta central de la tesis es por qué los hombres padecen transformaciones corporeales y psicológicas— y muchas veces dolorosas— tan frecuentamente en la gran pantalla.
This dissertation investigates the construction and representation of the monstrous masculine in contemporary science fiction cinema. That is to say, men who undergo a striking metamorphosis resulting in the blurring of binaries such as masculine/feminine, human/machine and self/other. A close-reading of key films and a consideration of their historical and socio-cultural contexts serves to identify and explore the mechanisms at work in the formation of male monsters as well as examining the growing presence and influence of technology and posthuman ideas in the portrayal of monstrous men. The five chapters consider five recurrent figures of monstrous masculinity: the mutant, the disempowered cyborg, the cyborg super villain, the alien and the transhuman. Ultimately, the thesis addresses the question as to why masculine characters so often undergo profound, often painful, corporeal and psychological transformations.
Universitat Autònoma de Barcelona. Programa de Doctorat en Teoria de la Literatura i Literatura Comparada

This paper critically examines films created with smart phones and similar devices in order to discuss how these films are understood within modern society, and how they can potentially be used as a potent source of empathy or a destructive tool of manipulation. Since the tools of cinematic creation have become more widely available, thanks to the development of inexpensive cameras and smartphones, making films and viewing films made by other amateur filmmakers has become a part of many people’s everyday life, so much so that these films are rarely considered to be ‘films’ at all. In this thesis, I take six films shot on what I call “pocket cameras” and focus a critical eye on them, examining them as though they were ‘traditional’ films. It is the goal of this thesis to show that ‘pocket films’ have the depth and complexity of ‘traditional’ films, but because viewers do not consider them to be ‘films’, viewers thus having fewer protective ‘barriers’ between themselves and the pocket film’s messages, these pocket films’ methods of ideological dissemination are more effective than those of a ‘traditional’ film.

Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-01-04T20:13:57Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Larissa Donatelli.pdf: 8049562 bytes, checksum: a70111e0c70bb86bbc18f2ee8c98086f (MD5)
Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-01-06T18:33:27Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Larissa Donatelli.pdf: 8049562 bytes, checksum: a70111e0c70bb86bbc18f2ee8c98086f (MD5)
Made available in DSpace on 2017-01-06T18:33:27Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Larissa Donatelli.pdf: 8049562 bytes, checksum: a70111e0c70bb86bbc18f2ee8c98086f (MD5) Previous issue date: 2014-12-03
The figure of the monster haunts the mankind since the dawn of the world. However, apparently the man still did not realize that these monsters are a reflection of the fears, deformities and deviations of character living inside of it. The monsters are part of the Western tradition and this paper aims at analyzing the historical development of a profile of monsters entity, through an analogy between the Gothic novel Frankenstein, by Mary Shelley and the film A pele que habito, by Pedro Almodóvar.
A figura do monstro assombra a humanidade desde os primórdios do mundo. Todavia, aparentemente, o homem ainda não percebeu que estes monstros são um reflexo dos medos, deformidades e desvios de caráter que vivem dentro dele. Os monstros fazem parte da tradição ocidental e o principal objetivo deste trabalho é analisar historicamente a construção do perfil da entidade monstro, por meio de uma analogia entre o romance gótico Frankenstein, de Mary Shelley e o filme A pele que habito, de Pedro Almodóvar.

The mise-en-scène - or staging - has long been one of the most studied in cinema, especially between the 1940s and 1950s, when the term has come to occupy a considerable space in the French criticism. However, over the years, the discussion of mise-en-scène was being redefined movies as both in the theoretical and critical, to the extent that other issues cinematographic now get more attention. In the 2000s, the theme of the staging was further analyzed with enough force on the critical scene/international academic, which deserves to be highlighted by recent publications of scholars like Aumont (2006) and Bordwell (2008). Given the aforementioned context, the purpose of this thesis is to investigate some of the ways of staging articulated in contemporary Brazilian cinema. The body of research is composed of three films: Pacific (2009), by Marcelo Pedroso; The Residents (2010), by Tiago Mata Machado; and The Monsters (2011), by Luiz Pretti, Ricardo Pretti, Guto Parente and Pedro Diógenes. The selected films include a cutout on film production held in three major axes in the contemporary scene, located in the cities of Recife, Belo Horizonte and Fortaleza, respectively. To facilitate such discussions, the text is divided into two chapters, and the final remarks. In the first part, we present some theoretical notes related to the concept of staging and its variants, as well as discussing issues on the contemporary Brazilian cinema. The second part presents the analysis of specific sequences of the films selected based on their presence and articulation of mise-en-scène.
A mise-en-scène ou encenação - foi por muito tempo um dos elementos mais estudados no cinema, sobretudo entre as décadas de 1940 e 1950, quando o termo passou a ocupar um espaço considerável na crítica francesa. No entanto, com o passar dos anos, a discussão em torno da mise-en-scène foi sendo redefinida tanto nos filmes quanto no campo teórico e crítico, na medida em que outras questões cinematográficas passaram a obter maior atenção. Nos anos 2000, essa temática voltou a ser analisada com bastante vigor no cenário crítico/acadêmico internacional, no qual merecem ser destacadas as recentes publicações de estudiosos como Aumont (2006) e Bordwell (2008). Diante do contexto apresentado, o propósito desta dissertação é investigar algumas das formas de encenação articuladas na produção cinematográfica brasileira contemporânea. O corpus da pesquisa é composto por três filmes: Pacific (2009), de Marcelo Pedroso; Os Residentes (2010), de Tiago Mata Machado; e Os Monstros (2011), de Luiz Pretti, Ricardo Pretti, Guto Parente e Pedro Diógenes. Os filmes selecionados contemplam um recorte relativo à produção cinematográfica realizada em três importantes eixos desse cenário contemporâneo, situados nas metrópoles Recife, Belo Horizonte e Fortaleza, respectivamente. Para viabilizar tais discussões, o texto é dividido em dois capítulos, além das considerações finais. Na primeira parte, são apresentados alguns apontamentos teóricos relacionados ao conceito de encenação e suas variantes, assim como também se discute questões sobre o cinema brasileiro contemporâneo. Já a segunda parte traz a análise de sequências específicas dos filmes selecionados em função da presença e articulação da mise-en-scène.

Made available in DSpace on 2014-06-12T16:32:09Z (GMT). No. of bitstreams: 2 arquivo6526_1.pdf: 3001890 bytes, checksum: 21c5ea9cd4adc117b601f6c74dbba9fa (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011
Faculdade de Amparo à Ciência e Tecnologia do Estado de Pernambuco
O monstruoso normalmente é relacionado ao Mal, à crueldade, violência, morte e irracionalidade. O objetivo deste trabalho é reconfigurar a forma como o monstro e o feio são lembrados, pois é possível representá-los de forma diversa daquela cruel e fria que imediatamente nos ocorre. Consideramos que um dos grandes pioneiros para essa mudança, no que concerne ao cinema, seja o diretor hollywoodiano Tim Burton. Com um estilo bem peculiar, Burton faz uso de temas delicados para propor reflexões no público e mudanças de paradigmas. Além disso, ele mostra que é possível uma abordagem estética do feio com o objetivo de torná-lo mais agradável aos olhos. Também mostramos como o gênero do horror veio se aprimorando desde o início da história do cinema, objetivando sempre causar mais repulsa e medo no espectador, e com isso a atração que eles exercem sobre nós curiosamente só cresce a cada dia. Tal análise se dará à luz de autores como Morin, Nazário e Carroll. Posteriormente, as recorrências burtonianas são apontadas, tanto tematicamente quanto estilisticamente, fazendo, inclusive, o uso de fotografias e screenshots para facilitar o entendimento do leitor. O objetivo é mostrar, na prática, que o monstro nem sempre é o vilão, e que os filmes em que eles aparecem normalmente possuem metáforas e críticas fortes implícitas, o que faz valer estudos mais aprofundados sobre o gênero

This study explores the patriarchal unconscious underlying the Korean horror genre through a critical feminist psychoanalytical reading of the family dynamics and female agency in three landmark texts, namely, The Public Cemetery under the Moon (Kwon, Chul-hwi, 1967), Mother's Han (Lee, Yusup, 1970) and Woman's Wail (Lee, Hyuksu, 1986). By closely examining these horror film texts using insights from feminist psychoanalytic approaches and situating the texts within historical events and popular culture in the Park Chung Hee era, this study produces an understanding of the cultural dilemmas of women's desire and agency, and especially those of mothers. These textual analyses demonstrate that Confucian virtues, especially as been reinvented under Park Chung Hee's leadership to facilitate developmentalist goals, have formed the roots that shape the mother-child relationship into one that both parties want to dissolve. Through placing the cinematic representation of the monstrous feminine within a historical understanding of Korean horror cinema, this dissertation also demonstrates that the sacred, perfect image of the mother as it is known in Korean popular culture today is in fact historically produced formation within the genre. Besides, with Woman's Wail, a very characteristic Confucian female monster is discussed, namely, the mother-in-law. With this very rare type of the female monster, the misogynistic gender politics within Confucian patriarchy is saliently represented. The feminist psychoanalytic discussion on the spectatorship focuses on the interplay between the image and the Confucian female spectator. In a close reading of the two women's desires in The Public Cemetery under the Moon, this study explores the ways in which the female spectator may find visual pleasures in Korean horror cinema and the ways in which they are communicated and negotiated vis-à-vis the matrix of gender politics in Confucian culture. Taken together, this work demonstrates how the Confucian value system re-invented in the Park Chung Hee era has been a crucial apparatus for women's oppression, and at the same time, how women's agency is nonetheless evinced despite the strictures of Confucianism.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-04T12:24:09Z No. of bitstreams: 1 Fernanda Manzo Ceretta.pdf: 64197918 bytes, checksum: 89e46d8729046a5162627527f8dcd7bc (MD5)
Made available in DSpace on 2018-07-04T12:24:09Z (GMT). No. of bitstreams: 1 Fernanda Manzo Ceretta.pdf: 64197918 bytes, checksum: 89e46d8729046a5162627527f8dcd7bc (MD5) Previous issue date: 2018-06-26
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This research analyzes the sound design of movie monsters, especially their voices. Chewbacca (Star Wars, 1977), Godzilla (1954) and Predator (1987) constitute our corpus. These monsters have voices composed by designers who have experimented different creation processes, using sounds generated by nature, body and manipulated objects, in order to create the sound identity of these characters. We investigate the contexts of these creation processes and the resulting sounds in their particularities to make a proposition of a method for creating the sound of monsters. Our method covers the potential sources of base sounds and other sonic characteristics such as frequencies, timbre and intensity. The research was based in the observation of the selected audio-visual materials and in the documentation available regarding the making ofs (which is vast, given the popularity of the selected monsters). The thesis is based mainly on articulations with the works of Rick Altman, Michel Chion and William Whittington, on the cinematographic sound, and of Theo Van Leeuwen in his proposition of sonorous analysis
Este trabalho analisa o sound design de monstros do cinema, sobretudo suas vozes. Chewbacca (Star Wars, 1977), Godzilla (1954) e Predador (1987) constituem o corpus da presente pesquisa. Estes monstros possuem vozes compostas por designers que experimentaram diferentes processos de criação, utilizando sons na natureza, do corpo e de objetos manipulados para criar a identidade sonora destas personagens. investigamos os contextos destes processos de criação e os sons criados, em suas particularidades, para compor uma proposta de método de composição de som de monstros, o qual abarca as potenciais fontes dos sons de base e demais características sonoras, como frequências, timbres e intensidade. A pesquisa foi feita a partir da observação dos materiais audiovisuais selecionados e do resgate da documentação disponível sobre os bastidores da criação dos mesmos (bastante vasta dada a popularidade dos monstros selecionados). A tese se baseia sobretudo em articulações com obras de Rick Altman, Michel Chion, William Whittington acerca do som cinematográfico e em Theo Van Leeuwen em sua proposição de análise sonora

France/tour/détour/deux/enfants é uma série produzida em 1979 por Jean-Luc Godard e Anne-Marie Miéville para a televisão francesa que foi ao ar em abril de 1980 pelo canal Antenne 2. Esta dissertação tem como objetivo contextualizar essa fase da obra godardiana em parceria com Miéville, indicando procedimentos internos à produção dessa série que cristalizaram o processo de experimentação iniciado por Godard em trabalhos antecedentes (sobretudo nas produções com o Grupo Dziga Vertov, assim como na série Six fois deux: sur et sous la communication, de 1976) e que desaguaram na sua produção posterior em vídeo, particularmente Histoire(s) du Cinéma (1989). Este trabalho é dividido em dois capítulos: Tour e Détour. O primeiro situa historicamente a produção da série, contextualizando o diálogo que ela estabelece com videoartistas contemporâneos a Godard e Miéville que, desde o final da década de 1960, viam a televisão como um lugar passível de ser povoado pela arte. O segundo capítulo, Détour, parte da noção de desvio e busca investigar como ela se materializa na construção formal da série. Nesse sentido, o texto incorpora a própria noção de desvio a fim de propor uma análise da obra que privilegia alguns de seus elementos: o quadro, a margem, a manifestação do feminino, o uso do slow motion, os gestos e o rosto. A conclusão aponta para o esquecimento ao qual France/tour/détour/deux/enfants foi submetida como um exemplo da tendência televisiva em anular toda e qualquer tentativa de criação de caráter experimental e crítico realizada em seu seio, seja fadando-as à desaparição, seja relegando-as a um estado de exceção.
France/tour/détour/deux/enfants is a TV show in 12 episodes produced by Jean-Luc Godard and Anne-Marie Miéville for the French television in 1979. The series was broadcast in April 1980, by the channel Antenne 2. This dissertation is aimed at contextualizing this period of Godards work in partnership with Miéville, and indicating internal procedures of this series which crystallized the experimental process initiated by Godard in his early works (especially with the Dziga Vertov Group, as well as in the previous TV series Six fois deux, sur et sous la communication, 1976), and which would lead to his later video production, particularly Histoire(s) du Cinéma (1989). This work is divided into two chapters: Tour and Détour. The first chapter historically situates the production years of the series and contextualizes the dialogue it establishes with video-artists from those years, who started to see television as a place that could be occupied by art. The second chapter takes the concept of detour as its starting point and proposes an analysis on how one can see this notion in the formal construction of the series. In this sense, I incorporated the very notion of detour in order to propose an analysis that would favor some of the works elements: the frame, the margin, the manifestation of the feminine, the use of slow motion, the gestures and the face. The conclusion indicates how France/tour/detour/deux/enfants was forsaken as an example of the television trend to override any attempt of experimental and critical creation conducted from within, whether condemning it to disappearance, or relegating it to a state of exception.

Bong Joon-ho‟s monster movie blockbuster, The Host (Gweomul, 2006), is the most commercially successful film in South Korean cinema history. The film‟s popularity and significance derive from its unearthing of the ambivalence concerning South Korea‟s rapid transformation from a rural dictatorship to an urban democracy with one of the strongest economies on the planet. This ambivalence is buried beneath a veneer of "progress" blanketing contemporary South Korea and constitutes a condition I call inverted exile. The Host explicitly engages life in inverted exile through my notion of aesthetic dialogue. Aesthetic dialogue, takes influence from the work of Mikhail Bakhtin and allows for proliferation of meaning beyond authorial intent by focusing on The Host‟s context. My approach focuses on genre, narrative, and style to flesh out the political, historical, and social ambivalences behind any given moment of The Host to put them in dialogue with one another. The project progresses through sites of cultural dialogue central to the film and/or life in inverted exile: the monster, the city, the home. I approach each site through the genres associated with them and gender roles each of them assume in inverted exile. South Korea‟s transformation and its relationship with the United States are causes of anxiety (e.g. loss of traditional values, overwhelming Western influence) and desire (political freedom, economic opportunity). Ultimately, I argue, The Host suggests that South Korea and its citizens need to embrace the ambivalences of inverted exile and actively shape an identity that takes an active and critical attitude towards Western influence. Such an attitude can better preserve the desirable aspects of traditional culture (e.g. traditional food, familial unity) and alleviate the anxieties caused by Western influence (e.g. rampant consumerism, unjust class divisions). The Host‟s dialogic form is integral to its shaping of Korean identity as it takes from multiple cultural sources (i.e. Hollywood and Korean history) without challenging their polarization.

Partiendo de los conceptos de figura y fondo, procedentes del campo de la teoría del arte, el trabajo investiga en primera instancia su posible aplicación al ámbito de lo cinematográfico, vinculándolos al discurso más amplio sobre la representación geométrica del espacio (perspectiva) entendida como forma simbólica de aprehensión de la realidad. Para ello, el trabajo interroga un género popular en el que se declinan de manera especialmente fructífera los temas de la figura y fondo como es el cine de monstruos gigantes, cuyo primer momento de esplendor gira entorno a los años 50 y 60 del siglo XX, era de apogeo y crisis de los modelos tradicionales de representación. En la segunda parte del trabajo, se plantean algunos interrogantes hermenéuticos alrededor del resurgimiento de la figura del monstruo gigante en la cultura audiovisual contemporánea, su función estética en el contexto digital y su conexión con las nuevas formas de representar la realidad en el género fantástico, así como la paralela –y aparentemente paradójica– conversión del gigante en signo íntimo para la conciencia del espectador.
Taking as a starting point the Figure/Background division as established in art theory, this work tries first to reframe it within the cinematographic studies, and to link it to wider aspects of geometric rendering of space (the Perspective System) as a symbolic form of apprehending reality. In order to do so, this work addresses a popular film genre where the Figure/Background issues are central: the giant monster movies that had their Golden Age in the 50’s and 60’, a time when traditional models of representation came to a crisis with the arrival of modern cinema. In the second part of this work, hermeneutic analysis is put into work to address the comeback of the giant monster in contemporary audiovisual culture, its aesthetic function in our digital era and its connection with new forms of representing reality in science fiction cinema, as well as the apparently paradoxical conversion of the giant monster in a sort of intimate sign for the viewer.

Cities involve several systems that work together as a network of urban relationships. These systems are in balance, and they work as a whole that articulates urban life.

But what makes a city memorable and special are its events: those magical situations where the uniformity of the experience stops and something unique arise.

Those are the moments where our memory is deeply engraved by a particular situation that will come back in our dreams and imaginative processes as an agent image.

Four urban events â a space for film edition and writing, an urban stage, a footage archive and park, and a projection space- whose locations have been determined by a Cartesian game dictated by the Plan of Washington DC; and one common discipline, Film, will be the main focus of this research and a way of understanding the relations among Memory and its spaces, Architecture and Film in the City.

Each event will respond to the particularities of its context by understanding first the sites and their relation with the city. These sites will be located in the four quadrants of Washington DC- NE, SE, SW and NW- and they will be consider as different communities that, by keeping their own idiosyncrasy, create one city.

The question of urban scale as well as the concept of detail as part of an architectural cosmology will be present throughout the process of the thesis by the alternation of micro and macro analysis of each stage of the research. The question of scale will be present as well when comparing the four projects with their differences in shape and size.

Characterization and monstrosity as architectural concepts will be incorporated into the project too, by understanding the role of Architecture in the city and what it wants to show or â monstrareâ to its inhabitants.
Master of Architecture

Com as famosas palavras “I’m just a sweet transvestite from Transsexual, Transylvania,” Dr. Frank-N-Furter apresenta-se com orgulho à audiência do musical de terror pós-moderno The Rocky Horror Picture Show (Jim Sharman, 1975), enquanto simultaneamente revela uma tendência subliminal enraizada no género de terror desde os seus primórdios: a associação entre o monstro queer e o terror cinematográfico. O presente estudo, intitulado “From Monsters to Monsters: Perverted Predators and Diseased Deviants – Queer Representations in American Slasher Film of the 1980s”, tem como objectivo desenvolver esta ideia, explorando representações queer num subgénero do terror que ganhou popularidade nos filmes dos anos 80, o slasher. Neste sentido, serão descritas e analisadas as imagens negativas apresentadas por Hollywood, que tiveram um impacto tremendo na comunidade LGBT (lésbico, gay, bissexual, transgénero/ transsexual). Ao mesmo tempo, tendo em conta a vantajosa posição de poder aceder à teoria queer contemporânea, este estudo também desenvolve a ideia de que as várias imagens monstruosas não representam necessariamente um mal que vitimiza indivíduos LGBT. Pelo contrário, quando analisadas retrospectivamente, tais falsas representações podem de facto servir como um modo de subverter um heteronormativo conceito de individuo. O enfoque particular na década de 1980 surge não só por causa do aparecimento do subgénero slasher, mas também porque este período representou um enorme retrocesso em relação aos direitos LGBT. O regresso a ideologias ultraconservadoras sob a presidência de Ronald Reagan (1981-1989), e o surgimento e a expansão rápida do vírus HIV/SIDA, bem como a associação imediata da doença com a comunidade homossexual masculina, geraram uma atmosfera geral de homofobia que assolou os Estados Unidos – um medo que foi rapidamente adoptado e explorado pelo género de terror de forma a aterrorizar, de modo particular, a classe média americana. De forma a contextualizar este tema em particular, será desenvolvido primeiro um enquadramento em relação ao Terror enquanto género, mostrando em que medida os conceitos de monstruosidade e queerness podem ser associados. Neste contexto, serão também consideradas as origens históricas desta associação pejorativa encontradas já no século XIX (por exemplo, no Gótico ou o no caso do julgamento de Oscar Wilde). Deste modo, será demonstrado como a ideia de uma “identidade homossexual” entrou na consciência pública, revertendo certos significados e estereótipos que doravante seriam associados a indivíduos queer. A nível cinematográfico, será explorado o modo como as concepções erradas criadas no fin-de-siècle foram rapidamente adoptadas ao longo do século XX, começando com filmes de terror americanos de certo modo pioneiros, como Frankenstein (1931) e Bride of Frankenstein (1935), em direção ao verdadeiro cerne desta dissertação, o filme de terror pós-moderno que eclodiu sobretudo a partir dos anos 60. Através do filme Psycho (1960) de Alfred Hitchcock, será exemplificada a diferença entre os paradigmas do filme de terror clássico e o filme de terror pósmoderno. Psycho é essencial para este estudo, visto que o filme pode não só ser considerado um ponto fulcral em relação a uma certa ruptura com as formas clássicas de produção cinematográfica de terror, mas também por ser considerado por vários estudiosos como a origem do slasher. Além disso, é um dos primeiros filmes que apresentou abertamente uma personagem homossexual. Durante esta análise fílmica, prestar-se-á especial atenção à influência da psicanálise nos Estados Unidos em meados do século, ou melhor, ao modo como as ideias freudianas foram falsamente interpretadas para retratar os “sexualmente desviantes”, enquanto seres estranhos ou doentes. Para destacar ainda mais o subtexto queer do filme, será feita uma breve comparação entre o original de Hitchock e o remake (plano por plano) de Gus Van Sant, de 1998, no sentido de mostrar como a simples mudança de pequenos pormenores pode alterar radicalmente a visão que um filme apresenta do homossexual e da homossexualidade. Antes de iniciar o estudo aprofundado sobre o slasher, será tida em consideração a grande transformação de conteúdos cinematográficos queer depois dos anos 60 por via de eventos históricos e fílmicos fundamentais, tal como a abolição do Código de Produção Fílmica ou o nascimento do movimento de direitos LGBT, que permitiram que personagens queer pudessem, de repente, ser representadas abertamente, sem que no entanto tais representações deixassem de ser pejorativas. De forma a ilustrar os altos níveis de discriminação que a comunidade LGBT sofreu nos anos 80, serão abordados em seguida tópicos como: as ideias desinformadas em relação à SIDA que infiltraram a consciência Norte-Americana, ou a tendência para regressar a configurações físicas e a comportamentos hiper-masculinos, enquanto forma de emular os “heterossexuais”, mas também enquanto afirmação de distanciamento em relação ao queer infectado, fraco e efeminado. Para além disso, o slasher como subgénero do terror, com as suas características distintivas vai ser introduzido no contexto de teoria queer, incluindo uma abordagem histórica do slasher, nomeadamente com referência a filmes e géneros fílmicos que influenciaram o seu desenvolvimento, bem como uma breve análise das circunstâncias sociopolíticas em que o subgénero prosperou. As análises fílmicas deste estudo têm em mente os debates iniciados nos capítulos anteriores, e explicitam a teoria aplicada a quatro filmes de terror dos anos 80 (analisados dois a dois): Dressed to Kill (Brian de Palma, 1980), Cruising (William Friedkin, 1980), Sleepaway Camp (Robert Hiltzik, 1983), e A Nightmare on Elm Street 2: Freddy’s Revenge (Jack Sholder, 1985). Devido ao estado ainda em desenvolvimento evolutivo do subgénero slasher no ano do seu lançamento, os dois primeiros filmes podem ser considerados como protótipos do género. Já os dois últimos incluem todas as componentes de um filme slasher, motivo pelo qual foi necessário organizá-los em dois grupos (e capítulos) separados. Tendo estabelecido a base para a demonização de personagens queer nos anos 80 antes do advento da crise da SIDA, Dressed to Kill e Cruising serão analisados comparativamente: começando com o impacto que os dois filmes tiveram, passando pela reutilização de material hitchcockiano, à presença do olhar voyeurístico ou à crítica de figuras de autoridade corruptas. Ademais, tendo em conta as características definidoras do slasher, determina-se quanto estes filmes podem ser considerados protótipos do subgénero. Ao mesmo tempo as influências de outras formas fílmicas, como o género Italiano giallo, precisam de ser avaliadas, transformando tanto Cruising como Dressed to Kill em dois filmes que traçam os limites de género, sendo fundamentais na evolução do terror pós-moderno. Por fim, ao contrário dos filmes anteriormente discutidos, Sleepaway Camp e A Nightmare on Elm Street 2: Freddy’s Revenge foram já produzidos nos primeiros anos da crise da SIDA, numa fase em que a doença ainda era entendida como uma forma de “cancro gay”. Estes filmes revelarão, portanto, múltiplas alusões à epidemia, enquanto também se focam nas dificuldades que os adolescentes queer enfrentaram no dia a dia, reconhecendo identidades, ainda que simplificando reações. Enquanto Sleepaway Camp chama a sua atenção prioritariamente para a monstruosidade de uma identidade sexual, ultrapassando normas de género tradicionais, A Nightmare on Elm Street 2: Freddy’s Revenge empreende um diferente caminho jogando com alusões homossexuais a um nível mais metafórico. No entanto, ambos utilizam o poder do camp como força transformadora. Tendo em conta que estes filmes são slashers assumidos, é importante demarcar as diferenças entre eles e os protótipos anteriormente estudados. Por isso, serão consideradas preferencialmente as características básicas que definem o slasher, mas também outras questões como a homofobia interiorizada, má parentalidade, a crítica dura às autoridades ou uma certa inclinação para voyeurismo. Apesar da qualidade (ou falta dela) dos filmes selecionados, estas ideias são fundamentais para ilustrar as grandes semelhanças e discrepâncias entre os protótipos mais elaborados e os filmes slasher de série examinados neste estudo. A análise apresentada aqui revelará que estes filmes considerados “inferiores” têm de facto um enorme potencial (queer), especialmente no modo como subvertem ou trabalham temas muitas vezes ignorados noutros géneros e subgéneros cinematográficos.
With the famous words “I’m just a sweet transvestite from Transsexual, Transylvania,” Dr. Frank-N-Furter proudly introduces himself to the audience of the postmodern horror musical The Rocky Horror Picture Show (Jim Sharman, 1975) while simultaneously pointing out an important subliminal trend engrained in the horror genre since its beginnings: the association between the queer monster and cinematic horror. This MA dissertation, entitled “From Monsters to Monsters: Perverted Predators and Diseased Deviants – Queer Representations in American Slasher Film of the 1980s” aims to follow this reasoning by exploring depictions of queerness in the Slasher Film, a horror subgenre that rose in prominence in the 1980s. More specifically, I will describe the hurtful consequences Hollywood’s continuous horrific portrayal of LGBT (lesbian, gay, bisexual, and transgender/ transsexual) individuals caused the queer community. Basing my argument on queer theory, I will support the idea that monstrous images do not need to necessarily be an evil victimizing LGBT individuals by pointing out that these ‘misrepresentations’ seen from today’s standpoint can indeed also serve as a form of queer subversion. I particularly chose to focus on the 1980s, not only due to the emergence of the slasher subgenre, but also because the decade generated an enormous backlash in regards to LGBT rights. The general atmosphere of homophobia pervading the United States stemmed from a socio-political return to ultra-conservative ideologies under the presidency of Ronald Reagan (1981-1989), as well as from the surfacing and rapid spreading of HIV/AIDS and the immediate association of the disease to the male homosexual community – a fear that was quickly adopted and exploited by the horror genre, and especially by the slasher subgenre, as a means to disturb heteronormative middle class America.

Orientação: Paulo Viveiros ; co-orientação: Inês Gil
Monstra, Festival de Animação de Lisboa realiza-se anualmente na capital de Portugal desde 2000, e é um evento cultural e artístico com relevância mediática e reconhecimento do público. Esta dissertação, acompanhada por um documentário intitulado “Retrato da Monstra”, visa contribuir para a história do festival de cinema de animação, evidenciando o seu papel na divulgação deste género em Portugal. A partir dos catálogos, de artigos publicados na imprensa escrita e na internet, e de entrevistas realizadas a alguns dos principais intervenientes (incluindo ao seu diretor artístico, Fernando Galrito), reconstituem-se os momentos fundadores e analisa-se a evolução do número de presenças e públicos participantes, número e tipologia de filmes, locais de exibição, países convidados, outras atividades inter-artes, modelos de organização, etc. A 14ª edição (2015) é tratada como um caso de estudo, sendo objeto de uma análise mais detalhada da programação e do segmento competitivo. Este trabalho procura contribuir para a definição da identidade da Monstra, partindo de dados objetivos e complementando-os com as ideias e perceções dos que fizeram parte dela ao longo dos anos. Finalmente, equaciona-se o futuro do festival.
Monstra (which means “monster”), Festival de Animação de Lisboa is held annually in Portugal’s capital city since 2000. It is a cultural and artistic event with media relevance and recognition of the public. This dissertation, accompanied by a documentary entitled "Retrato da Monstra" (which means “portrait of Monstra”) aims to contribute to history of the animation film festival, highlighting their role in spreading the genre in Portugal. From the catalogues, media articles print in newspapers and on the Internet, and interviews with some of the leading actors (including its artistic director, Fernando Galrito), it reconstituted to the early moments and analyses the evolution of the number of attendances and public participants, number and types of films, display sites, invited countries, other inter-arts activities, organizational models, etc. The 14th edition (2015) is treated as a case study, with a more deep analysis of the program and the competitive segment. This work seeks to contribute to the definition of the Monstra’s identity, using objective data and complementing them with the ideas and perceptions of those who were part of it over the years. Finally, it equates the future of the festival.

Ce mémoire est consacré à la question de la réception spectatorielle des films en IMAX 3-D. Dans un premier temps, nous retracerons l’histoire du cinéma stéréoscopique, des origines jusqu’à l’inauguration de l’IMAX 3-D en 1986. Nous verrons que le modèle de l’attraction cinématographique s’est maintenu de tout temps dans l’économie de ce format, ce qui a contribué aux échecs de son institutionnalisation dans les années 50 et 80. En un deuxième temps, nous nous intéresserons à l’« expérience IMAX », afin de cerner la position qui y est attribuée au spectateur. Nous montrerons que les films IMAX misent à la fois sur leur potentiel immersif et sur la mise en évidence du dispositif. L’état d’immersion du spectateur entre donc en dialogue avec la réflexivité du médium. Par l’analyse des films Sea Monsters : A Prehistoric Adventure et Haunted Castle, il sera démontré que cette tension entre immersion et réflexivité sert un discours de glorification de l’IMAX. Aussi, nous interrogeons les liens entre la structure ponctuelle imposée par le modèle attractionnel et le fil narratif immanquablement mis en place dans les films IMAX.
This thesis examines the ways in which IMAX 3-D films positions its spectator. First, we look at the history of 3-D cinema, from its origins to the inauguration of IMAX 3-D in 1986. We argue that for the first 70 years of its history, 3-D cinema was staged as a return to the cinema of attractions, and that this aesthetic was an obstacle to its institutionalization in the mid-50’s and 80’s. Then, we describe the “IMAX experience” and argue that IMAX films induce a state of immersion and, at the same time, draw the viewer’s attention to the presence of the apparatus and the act of mediation. In analysing the movies Sea Monsters: a Prehistoric Adventure and Haunted Castle, we demonstrate that this tension between viewer immersion and medium reflexivity serves to glorify the IMAX trademark. Furthermore, we examine the relationship between the punctual structure imposed by the logic of attractions and the narrative line held by each and every IMAX film.

The film Monster (USA, 2003) is based on the life of Aileen Wuornos, the Florida prostitute who was one of the few documented female serial killers in the United States. The scriptwriter and director of the film, Patty Jenkins, surprisingly centered the film on a love story, instead of assuming the role of judge or advocate towards the actions of Wuornos. After a flash back sequence that recreates the childhood of Lee (Charlize Theron), the film opens as Lee meets Selby (Christina Ricci), a young and immature lesbian in a bar. Lee responds very rudely and defensively to the clumsy flirtation of Selby, as she does not think of herself as gay and her life as a prostitute has made her very hostile towards society. However, Lee opens up to Selby, as she perceives her as her last chance to find Love. Patty Jenkins cinematically evokes Lee’s hopelessness and despair before meeting Selby in order to emphasize the importance of this same-sex relationship. For Lee, Selby is the innocent child that she has to protect and save, a symbol of the child she once was herself. Inspired, she goes out to work on the highway to earn money for their first date, and a client beats her unconscious, ties her up, rapes her with a tyre iron and pours petrol over her. Fearing for her life, Lee shoots him, and then takes his car and wallet. As her relationship with Selby develops, she enters into the role of provider and protector. After her brutal encounter, she is scared of the streets and makes an attempt to go straight. However, 3 in her attempt to look for a proper job she encounters social rejection and brutalization. Pressurized by her new girlfriend to provide money, Lee goes back to prostitution. However, her last traumatic experience with the rapist john makes her believe that all her clients might turn out to be abusive, which provokes in her a desire for revenge and killing. Unable to stop, she robs her victims to provide for her girlfriend and believes that she can identify which clients deserve to die. After the killing of an innocent man, she is turned over to the police by Selby. Monster is not about sensationalism, but rather portrays the intimate tragic story of a human being who became a serial killer, due to a combination of bad social and personal pathologies. The Meaning of the Form: The aim of this thesis is to explore the representation of women and aggression in Patty Jenkins’ film Monster. I will argue that, while the female characters in Monster do not escape the conventional portrayal of women within the dominant Hollywood cinema, their portrayal does nonetheless create a ‘non-normative’ representation. By exploiting the classical narrative and a particular model of representation of women, Jenkins creates a cinematic text which attacks the patriarchal principles grounding the model. Therefore, the main argument of this thesis will be that Jenkins uses the Hollywood system of narration and representation of women in order to subvert and criticize it. Ultimately she is using the film as means to critique the patriarchal violence within American society itself. In order to substantiate my argument, I will first look at the conventional representation of women in fiction-film genre1, and will then investigate how the performance of aggression is constructed within the film. The film represents aggression as a social phenomenon that develops into a pathological behavior. By establishing the history of the general phenomenon of female aggression, I will examine its specific representation in my film case study Monster. Although the film introduces different female characters that each have their particular expression of aggression and representation, the primary focus of analysis will be Lee, the main character of the film.

Este relatório de estágio irá centrar-se na Monstra | Festival de Animação de Lisboa, que ao longo dos seus dezasseis anos de vida regista um crescimento quer em qualidade, quer em quantidade de programação, públicos e financiamentos. O festival, tem sido fundamental para a subsistência, divulgação e promoção do cinema de animação português, uma arte que carece particularmente de apoios à produção e distribuição das suas obras. O objetivo deste trabalho será compreender como, face a um panorama cultural em constante mutação, com crescentes limitações financeiras e uma indústria com carências específicas, um festival de cinema, em Portugal garante a sua sustentabilidade e sucesso. A partir de uma experiência profissional, como assistente de produção da edição 2016 do Festival Monstra, foi possível entender que as relações estabelecidas com os diversos agentes envolvidos na sua realização; a sua particular estrutura organizacional; uma estratégia de angariação de fundos estruturada e internacional assente na capacidade do festival de responder às limitações do mercado; assim como o valor cultural e identitário que este possuí enquanto evento cultural e criativo fiel à sua missão desde o início para a cidade de Lisboa; são um conjunto de variantes fundamentais para a sua subsistência.
This report focuses on Monstra | Lisbon Animated Film Festival, which throughout its sixteen years of existence displayed a constant growth both in quality and quantity of its program, audience and financial aid. This film festival has been fundamental to the subsistence, dissemination, and promotion of the Portuguese animation cinema, an art affected by the industry lack of support. The purpose of this report is to examine how in a constantly shifting cultural panorama, with increasing financial limitations, and an industry with specific deficiencies, a film festival in Portugal, like Monstra, guarantees sustainability and success. In the light of a professional experience as assistant production in Monstra during its 2016 edition, it was possible to notice that the relations established with the various agents involved in its preparation, its particular organizational structure, its fundraising strategy, as well as the value that it embodies as a cultural and creative event for the city of Lisbon, are a set of fundamental variants to its preservation.