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1
Da Silva, Júlio Cláudio. "Relações Raciais e de Gênero nas Telas do Cinema Brasileiro nas Narrativas Sobre a Atuação de Léa Garcia em Orfeu do Carnaval (1950-1960)." REVISTA PLURI 1, no. 3 (August 13, 2020): 41. http://dx.doi.org/10.26843/rpv132020p41-52.
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O universo das artes cênicas pode ser um lócus privilegiado de observação da presença da variável raça e gênero na sociedade brasileira? A análise, em perspectiva histórica, da trajetória de uma atriz negra de teatro, cinema e televisão, pode iluminar a presença do racismo e do antirracismo na História do Brasil? Essas e outras perguntas podem ser respondidas quando visitamos a trajetória da atriz de teatro, cinema e televisão e ativista do movimento social negro, a partir das narrativas contidas nas entrevistas e periódicos, sobre os primeiros anos de atuação de Léa Lucas Garcia, na década de 1950. Léa Garcia atuou em sete montagens do Teatro Experimental do Negro dirigida por Abdias Nascimento, no Rio de Janeiro e em São Paulo, entre 1952 e 1957. O ano de 1956 marca o início do seu trabalho como atriz profissional no teatro, ao participar da montagem de Orfeu da Conceição, de Vinícius de Moraes. Orfeu do Carnaval (1957), dirigido por Marcel Camus, foi a sua estreia no cinema, graças a sua interpretação nesta obra, foi agraciada com o segundo lugar na premiação de melhor atriz no Festival de Cinema de Cannes.Palavras chave: Léa Garcia; Relações raciais; Orfeu do CarnavalAbstractCan the universe of performing arts be a privileged locus for observing the presence of the variable race and gender in Brazilian society? Can the analysis, in historical perspective, of the trajectory of a black actress in theater, cinema and television, illuminate the presence of racism and anti-racism in the History of Brazil? These and other questions can be answered when we visit the trajectory of the actress of theater, cinema and television and activist of the black social movement, from the narratives contained in the interviews and periodicals, about the first years of Léa Lucas Garcia’s performance, in the decade of 1950. Léa Garcia performed in seven plays at the Teatro Experimental do Negro directed by Abdias Nascimento, in Rio de Janeiro and São Paulo, between 1952 and 1957. The year 1956 marks the beginning of her work as a professional actress in the theater, by participating editing by Orfeu da Conceição, by Vinícius de Moraes. Orpheus of Carnival (1957), directed by Marcel Camus, was his debut in cinem;a, thanks to his interpretation in this work, he was awarded the second place in the award for best actress at the Cannes Film Festival.Keywords: Léa Garcia; Race relations; Orfeu do Carnaval
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Zimmer, Catherine. "Surveillance Cinema: Narrative between Technology and Politics." Surveillance & Society 8, no. 4 (April 19, 2011): 427–40. http://dx.doi.org/10.24908/ss.v8i4.4180.
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Taking as a starting point the recent surge in film and television narratives constructed around and by surveillance technologies, this essay offers a historical and theoretical reexamination of the manner in which screen narrative has organized political, racial, affective, and even material formations around and through surveillance. The essay demonstrates that even when films are focused on insistently visual deployments of surveillance technologies, the narrative construction around those technologies suggests highly complex dynamics—dynamics that neither psychoanalytic conceptions of voyeurism nor Foucault’s discourse on Bentham’s panopticon can entirely account for. A visual orientation has made it these approaches which have, within the realm of cinema studies, overwhelming served to explain the formations and functions of a variety of disparate surveillance-themed narratives. A more phenomenological reading of the relations between technology and narrative, as well as a more dynamic intersection with political philosophy as is represented in the growing field of surveillance studies, allows us to see how what this essay calls “surveillance cinema” serves to consolidate the stakes of surveillance technologies and practices with greater attention to historical and structural specificity.
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Sinha, B. ""Lowering Our Prestige": American Cinema, Mass Consumerism, and Racial Anxiety in Colonial India." Comparative Studies of South Asia, Africa and the Middle East 29, no. 2 (January 1, 2009): 291–305. http://dx.doi.org/10.1215/1089201x-2009-011.
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Nwonka, Clive James. "Policing Black Film: Racism, Black Resistance and the Applicational Dexterity of Race Relations in Babylon." Sociology 55, no. 4 (January 30, 2021): 840–62. http://dx.doi.org/10.1177/0038038520985793.
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The racial unrests permeating across Britain in the late 1970s resulted in a set of political agendas responding to racism to be brought into being though legislation, culminating in the passing of the 1976 Race Relations Act. Crucial to such agendas were strategies for the prevention of black urban uprisings against state authority and the politicisation of black youths against racism. The emergence of politicised black British film during the late 1970s offered a crucial counter-hegemonic exploration and re-enactment of an extra-filmic reality of police violence and popular racism within the British body social. However, these texts were subjected to forms of political censorship through a number of state organisations who identified radical black cinema as a political threat with the potential to incite violent responses from black youths. This article will offer a detailed analysis of Babylon (1980) and seeks to investigate the ideological processes leading to its X certification and the moral panic located in its representations of black youths within the crisis of race vis-a-vis the political, social and cultural authority of race relations, situating Babylon’s controversial X certification as an exemplar of the ‘applicational dexterity’ of the race relations discipline.
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Talmacs, Nicole. "Africa and Africans in Wolf Warrior 2: Narratives of Trust, Patriotism and Rationalized Racism among Chinese University Students." Journal of Asian and African Studies 55, no. 8 (May 18, 2020): 1230–45. http://dx.doi.org/10.1177/0021909620920323.
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This paper analyses responses from Chinese university students to China’s most successful blockbuster to date, Wolf Warrior 2. Responses revealed racialized language objectifying the black African Other and affirmation of existing scepticisms towards Sino-African relations. It is argued that these responses must be understood within the context of trust these students have in the mediated messages they encounter, the Chinese leadership, the hearsay of social networks, and film industry standards established by Hollywood, all of which precondition Chinese student understandings of ‘Africa’ and ‘Africans’ that informs their viewing experience. Trust in the nation’s film industry, however, also suggests Chinese cinema may have the ability to improve racial awareness among Chinese audiences. To do so though, would require a shift in the film industry’s objectives from its current efforts in patriotic education, to portraying China and the Chinese as one of many within an interconnected global community.
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Brochier, Christophe. "Observer les relations raciales." L'Homme, no. 234-235 (October 14, 2020): 181–210. http://dx.doi.org/10.4000/lhomme.37372.
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Trémoulinas, Alexis. "Sport et relations raciales." Revue française de sociologie 49, no. 1 (2008): 169. http://dx.doi.org/10.3917/rfs.491.0169.
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Rudder, Véronique de. "De l’urbain au social : le « cycle des relations raciales »." Revue européenne des migrations internationales 18, no. 3 (December 12, 2002): 41–54. http://dx.doi.org/10.4000/remi.1607.
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d’Adesky, Jacques. "Les études brésiliennes sur les relations raciales aux États‑Unis." Anthropologie et Sociétés 33, no. 2 (February 23, 2010): 223–35. http://dx.doi.org/10.7202/039305ar.
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Au cours des quatre-vingt dernières années, la production des universitaires brésiliens sur la question raciale nord-américaine a été épisodique. Et ceux qui se sont penchés sur le modèle américain de relations raciales n’y cherchèrent pas une inspiration mais la démonstration que le Brésil aurait réussi son intégration raciale, dans la mesure où les Noirs n’y sont pas victimes des types de violences explicites pratiquées aux États-Unis. À partir de 1997, on observe au Brésil la multiplication des études, des travaux et des publications sur le thème de l’action affirmative, basée sur une comparaison avec l’expérience nord-américaine. Ces textes démontrent implicitement que le modèle racial brésilien n’est pas arrivé à élever le niveau de vie de la population afro-brésilienne à un point comparable à celui des Noirs américains en terme économique et d’influence politique. Elles montrent également que les politiques dites universalistes n’ont pas abouti au Brésil à l’égalité des chances pour tous. Compte tenu de l’actuel contexte racial nord-américain, le modèle américain ne peut plus être considéré comme l’antithèse du modèle brésilien et donc continuer à être ignoré par les intellectuels brésiliens dans les études comparatives entre les deux pays.
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Sabbagh, Daniel. "Universités américaines : la fin des préférences raciales ?" Critique internationale 17, no. 4 (2002): 159. http://dx.doi.org/10.3917/crii.017.0159.
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Hasenbalg, Carlos. "Entre le mythe et les faits : racisme et relations raciales au Brésil." Journal des africanistes 67, no. 1 (1997): 27–45. http://dx.doi.org/10.3406/jafr.1997.1119.
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Edmonston, Barry, Sharon M. Lee, and Jeffrey S. Passel. "Intermariage, immigration et statistiques raciales aux États-Unis." Critique internationale 12, no. 3 (2001): 30. http://dx.doi.org/10.3917/crii.012.0030.
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MELTEM, TEKEREK. "CINEMA IN TURKISH-SOVIET RELATIONS IN THE ATATURK PERIOD." History and Modern Perspectives 2, no. 1 (March 30, 2020): 31–37. http://dx.doi.org/10.33693/2658-4654-2020-2-1-31-37.
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Cinema had been found at the end of the 19th century. The first cinema shows in the Ottoman Empire and the Russian Empire had been held in 1896. Since the beginning of the 20th century, cinema, which was an effective tool in propaganda, had some experiences until the end of the First World War. After the war, developments in international relations brought Turkey and Soviet Russia closer together. Thus, good relations that started in 1919 will have been continued for a long time. During this period, cinema was used by the Bolsheviks in Russia about realizing the objectives of the regime, and this experience affected Turkey. Therefore, one of the issues which mentioned in the relations between the two countries was the cinema. Turkey wanted to benefit from propaganda and indoctrination power of cinema in Atatürk period dominated by the friendly relations between the two countries. This study aims to examine how cinema reflected on the relations between the two countries during the Atatürk period. It has been seen that cinema had an important status in relations between Turkey and Soviet Russia. The interaction on cinema started in the 1920s and continued in the 1930s. Although the cooperation continued between the two countries about the cinema, Turkey had been sensitive to any threat to the regime which could be coming from the Soviet Union in this process.
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Wittersheim, Éric. "Itinéraires aborigènes. Histoire des relations raciales dans le Sud-Est australien by Bastien Bosa." Annales. Histoire, Sciences sociales (French Edition) 71, no. 4 (2016): 1053–57. http://dx.doi.org/10.1353/ahs.2016.0194.
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Collomb, Gérard, Stéphanie Guyon, and Marie-Hélène Sa Vilas Boas. "Penser les relations ethno-raciales dans les trois Guyanes : fluidité et performativité des catégories." Cahiers des Amériques latines 1, no. 93 (March 30, 2020): 13–28. http://dx.doi.org/10.4000/cal.10451.
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Sabbagh, Daniel. "La représentation électorale des minorités ethno-raciales aux États-Unis." Revue internationale de politique comparée 11, no. 3 (2004): 457. http://dx.doi.org/10.3917/ripc.113.0457.
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Castellanos Llanos, Gabriela. "Identidades raciales y de género en la santería afrocubana." La Manzana de la Discordia 4, no. 1 (March 15, 2016): 63. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v4i1.1475.
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Resumen: Se exploran las concepciones de géneroen la santería o regla de Ocha una religión que tieneconsecuencias culturales muy importantes en Cuba tantodesde el punto de vista étnico y racial como para lasrelaciones de género. Este trabajo analiza algunas deestas consecuencias, planteando sus implicaciones parala identidad racial afrocubana, centrándose en lascaracterísticas del sistema de género que está implícitoen las creencias y en los rituales de la santería. El trabajobosqueja las características principales de la santería yalgunos aspectos de su posible efecto en el racismo enCuba, antes de examinar el estatus de las mujeres enesta religión. Se refuta la afirmación de una investigadorade que en la sociedad yoruba tradicional no existe elconcepto de mujer como inferior que es típico delpatriarcado occidental, o de otra de que la santeríacubana es una religión de base femenina, donde lofemenino es normativo. Sin embargo, se concluye quelas concepciones occidentales de la división radical delos dos sexos en dos entidades totalmente rígidas y biendelimitadas, están ausentes en la santería.Palabras clave: religiones afro-cubanas, santería,identidad, raza, géneroAbstract: This article explores the conceptions ofgender in santería or Regla de Ocha, a religion whichhas important cultural consequences in Cuba both forracial and gender relations. It analyzes some of theseconsequences for Afro-Cuban racial identity and focuseson the gender system implicit in beliefs and rituals in santería. The text portrays the major characteristics of santería and some of its possible effects on racism in Cuba, before examining the status of women in this religion. It refutes the claim by one researcher that in traditional Yoruba society there is no concept of women as inferior as found in Western patriarchy, and that of another researcher that Cuban santería is a femalebased religion, where femininity is normative. However, it is concluded that Western conceptions of the radical split of the sexes in two rigid and well-defined entities are absent in santería.Key words: Afro-Cuban religions, santería, identity,race, gender
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Brochier, Christophe. "De Chicago à São Paulo : Donald Pierson et la sociologie des relations raciales au Brésil." Revue d'Histoire des Sciences Humaines 25, no. 2 (2011): 293. http://dx.doi.org/10.3917/rhsh.025.0293.
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Kristensen, Lars. "Bicycle cinema." Thesis Eleven 138, no. 1 (January 23, 2017): 65–80. http://dx.doi.org/10.1177/0725513616689397.
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This paper examines the relationship between identities and the bicycle as portrayed in films. The analysis finds that taking the viewpoint of the bicycle emancipates the bicycle from being subjected to closure, as the constructionists would have it, and thus articulates the differences with which the bicycle can communicate to its rider. The paper examines the bicycle as depicted in three films: Premium Rush (Davis Koepp, 2012), A Sunday in Hell (Jørgen Leth, 1977) and Life on Earth (Abderrahmane Sissako, 1998). It engages with the concept of ‘interpretative flexibility’ and the development of the bicycle, as examined by Wiebe Bijker and others, and argues that the interpretative flexibility of bicycles does not cease just because the high-wheeler was abandoned and the ‘safety’ bicycle was universally accepted. The fight for the role of the bicycle continues and the bicycle is subject to constant transformations in order to reconstruct it according to human needs. Andrew Feenberg’s modified constructivism is applied to re-examine the technical development of the bicycle, claiming that technology is dependent on specific social structures as well as human agency. The paper argues that just as social structures are negotiable and unfixed at any point in time, the bicycle too is never neutral but remains negotiable and unfixed. Consequently, since the bicycle constantly ‘speaks’ back to the user, there is never closure in the technical development of the bicycle. Drawing on the writings of Bruno Latour and the Deleuzian idea of assemblages, the bicycle and its rider are considered as an organic entity that is constantly forged and un-forged. Understanding the rhetoric of the bicycle machine helps the convergence of a bicycle becoming with becoming a rider, marking the bicycle as equal to its rider. Viewed in this way, the hierarchy of agency collapses and a crystallization emerges out of the rider and bicycle entwinement.
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Leonard, Michael. "Cinema/history." Alphaville: Journal of Film and Screen Media, no. 1 (August 17, 2011): 89–104. http://dx.doi.org/10.33178/alpha.1.07.
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This article compares the engagement with the history of May 1968 in Philippe Garrel’s Les Amants réguliers/Regular Lovers (2005)and Bernardo Bertolucci’s The Dreamers (2004). Through a close study of both films, it demonstrates how Garrel finds a more nuanced and transformative aesthetic than Bertolucci in representing this defining moment in modern French culture and politics. The films share a number of aspects; most notably, they draw upon the history of cinema itself in recalling this period, an approach that can be related to Godard’s project in Histoire(s) du Cinéma (1988-1998). However, their differing approaches to cinematographic citation (metonymic in the case of Bertolucci, and metaphoric in the case of Garrel) have significant implications for the temporal dynamics of each film. The article argues that Bertolucci’s method is intrinsically conservative—reactionary, even—implying an historical linearity that reinforces the “pastness” of May, its significance as a piece of “heritage” rather than part of an ongoing historical process, or dialectic. Garrel’s practice of citation, by contrast, generates a more radical, heterochronous form that constitutes a testimony to May 1968 by evoking its continued presence. In the course of its discussion, the article also reflects on the relationship between Les Amants réguliers and the nouvelle vague, exploring in particular the relations between this film and Jacques Rivette’s Paris nous appartient (1961).
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Nugent, Maria. "Sites of segregation/sites of memory: Remembrance and ‘race’ in Australia." Memory Studies 6, no. 3 (June 28, 2013): 299–309. http://dx.doi.org/10.1177/1750698013482863.
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This article considers the interplay between Aboriginal people’s remembrances about race relations in rural mid-twentieth-century Australia and the frames of remembrance provided by the American Civil rights movement. It takes as its focus two key Australian sites of racial segregation – country town cinemas and public swimming pools – to explore the ways in which since, and in no small part due to, the desegregationist politics of the 1960s they have become prominent sites of public memory. Drawing on three examples from a range of media – art, film and published memoirs – the article traces the ways in which different ways of narrating and remembering these ‘twisted spaces’ contributes to and makes possible alternative and at times unsettling interpretations of experiences and histories of relations between Aboriginal and non-Aboriginal people during what is commonly referred to as the ‘assimilation era’.
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Conceição, Marcela Silva da, and Wilma de Nazaré Baía Coelho. "A DISCUSSÃO DAS RELAÇÕES ÉTNICO-RACIAIS NOS PROGRAMAS DE PÓS-GRADUAÇÃO EM EDUCAÇÃO DA REGIÃO NORDESTE(2009-2016)." Cadernos de Pesquisa 27, no. 4 (December 29, 2020): 100. http://dx.doi.org/10.18764/2178-2229.v27n4p100-128.
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Este artigo tem como objetivo conhecer a discussão das relações étnico-raciais nos programas de pós-graduação em educação da região nordeste (2009-2016) através do levantamento da produção intelectual docente, da análise da estrutura e da organicidade dos programas. Este estudo auxiliará no reconhecimento do modus operandi dos programas frente as exigência dos marcos legais relacionados à diversidade e, especificamente, as relações étnico-raciais. As discussões amparam-se na teoria de Pierre Bourdieu (2007) por meio dos conceitos de campo e capital. Para a análise do conteúdo fizemos uso do estudo de Laurence Bardin (2011) mediante a organização das unidades, dos temas e por fim das categorizações. Inferimos que o campo da Pós-Graduação em Educação da região Nordeste vem investindo em capital científico para atender as demandas sociais e educacionais da região nordeste especificamente nas questões que envolvem o debate sobre as relações étnico-raciais. Podemos constatar o reflexo desse investimento na ampliação de linhas de pesquisa voltadas para a discussão racial e para as questões de diversidade como gênero, identidades, sexualidade, movimentos sociais, entre outros, que buscam, como afirma Silva (2008), atender aos problemas da sociedade e cumprir sua finalidade com o compromisso da vida social. As avaliações da CAPES, também, refletem tal investimento quando apresentam significativos progressos no crescimento da produção intelectual desta região.THE DISCUSSION OF ETHNIC RACIAL RELATIONS IN POSTGRADCATE PROGRAMS IN EDUCATION OF NORTHEAST REGION (2009-2016)AbstractThis aticle aimstoknow thw discussion of the ethnic racial relations in postgraduate programs in education of northeast region (2009-2016) by means of the survey of techer intelectual production, structure analysis and organicity of the modus operandi oh the programs against the requirements of legal frameworks related to diversity and specifically, the ethnic-racial relations. The discussion supported in theory of Bourdieu (2007) by means of the concepto field and capital. For content analysis wemadg use of study of Bardin ( 2011) upon the organization of the units, of the themes and lastly of categorizations. We infer tha the field of postgradua te education in the northeast region has been investing in scientific capital to meet the social and educational demands of the northeast region specifically on the issues surrocinding the debate on ethnic-racial relations. We can seg the reflection of this investtment in the expansion of research lines focused on racial discussion for diversity issues as gere, identities, sexuality, social movements among others, who seek as claims Silva (2008), address the problems of society and fulfill your purposg with the commitment of social life. The ratings of CAPES, also, reflect such investment whe they show significant progress in the growth of intellectual production in the region. Keywords: Postgraduate Program. Ethnic Racial Relations. Intellectual Production. Northcast Region. LA DISCUSIÓN DE LAS RELACIONES ÉTNICAS RACIALES EM LOS PROGRAMAS DE POSGRADO EM EDUCACIÓN DE LA REGIÓN NORDESTE (2009-2016)ResumenEste artículo tiene como objetivo conocer la discusion de las relaciones étnicas raciales em los programas de posgrado em educación de lá región nordeste (2009-2016) por médio del levantamento de la producción intelectual docente , análisis de la estrutura, de la organización de los programas. Este estúdio auxiliar em el reconocimiento del modus operand de los programa frente a la exigência de los marcos legales relacionados a la diversidade y, especificamente, las relaciones étnicas raciales. Las discusiones se amparan em la teoría de Pierre Bourdieu (2009) por médio de los conceptos de campo y capital. Para la análisis del contenido hicimos uso del estudio de Laurence Bardin (2011) sobre de la organización de las unidades, de los temas y por fin de las categorizaciones. Hemos inferido que el campo de posgrado em educación de la región nordeste viene invirtigando em capital científica para atender las demanda sociales y educacionales de la región nordeste especificamente em las questiones que implican debate sobre las relaciones étnica raciales. Podemos constatar el reflejo de esta inversión em la ampliacion de las líneas de pesquisa enfocado para la discusión racial y para las cuestiones de diversidad como género, identidades, sexualidade, movimentos sociales, entre otros, que buscan como assegura Silva (2008), atender los problemas de la sociedade y cumplir su propósitocon el compromisso de la vida social. las evoluciones de la CAPES. También, reflejantal inversión cuando presentan significativos progresos em el crecimiento de la producción intelectual de esa región.Palabras clave: Programa de Posgrado. Relaciones Étnica-Raciales. Producción Intelectual. Región Nordeste.
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Webster, Robert M. "NOTES ON FRENCH CINEMA, COLONIALISM, IMMIGRATION, AND RACE RELATIONS." Contemporary French Civilization 17, no. 2 (October 1993): 304–11. http://dx.doi.org/10.3828/cfc.1993.17.2.006.
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Lambert, Cheryl Ann. "Cinema Spin: Exploring Film Depictions of Public Relations Practitioners." Communication Teacher 25, no. 4 (October 2011): 205–11. http://dx.doi.org/10.1080/17404622.2011.601716.
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Elgamal, Amal. "Cinema and its image." Contemporary Arab Affairs 7, no. 2 (April 1, 2014): 225–45. http://dx.doi.org/10.1080/17550912.2014.918320.
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Cinema, or motion pictures, is known as ‘the art of the moving image’. Historically, fine arts have never been prohibited by the three monotheistic religions, but after the emergence of cinema, some religious leaders not only considered it ‘undesirable’ but also called for its outright prohibition. However, no consensus has ever been reached among jurists. Cinema is a universal language and a method of narration, recounting and storytelling whose popularity exceeds that of any other art as it is more entertaining and bedazzling. Egypt was a pioneer among Arab countries in the field of cinema, producing immortal films that addressed the sufferings and concerns of its people in an artistic manner. Throughout the history of Arab cinema its trends have varied from realism and neo-realism to biography, which was introduced by Youssef Chahine. Moreover, the evolution of cinema in Arab countries, notably Egypt, Syria, Morocco, Tunisia and Lebanon, could not have been achieved without breaking taboos and tackling problematic issues within society.
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Dantas, Elenildes. "O corpo fragmentado do cinema contemporâneo." Matrizes 10, no. 2 (August 31, 2016): 197. http://dx.doi.org/10.11606/issn.1982-8160.v10i2p197-201.
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In The cinematic body, Steven Shaviro explores the relationship between the cinematic apparatus and the life of the body, suggesting that both are not alien or extrinsic to each other, since their symbolic and parasitic interpretation is part of the postmodern culture of social and technological relations of capitalist society. Understanding the cinema as a living medium that causes bodily reactions of desire and fear, pleasure and disgust, fascination and shame, the author seeks relations with postmodernity, the politics of human bodies, the construction of masculinity and the masochistic aesthetic, present in films.
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Banton, Michael. "Les construits sociaux et les construits sociologiques: race et racisme / Social constructs and sociological constructs: race and racism." Revista Polis e Psique 5, no. 1 (February 20, 2015): 17. http://dx.doi.org/10.22456/2238-152x.53671.
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La connaissance grandissante des relations raciales et ethniques dépend, comme dans beaucoup d’autres champs de recherche, du développement d’un vocabulaire technique. Il faut que ce vocabulaire théorique soit développé à la marge de la langue pratique de la vie quotidienne. Les différences fonctionnelles des deux types de langage peuvent être alors mésinterprétés. Les construits sociologiques doivent dans ce sens être uni-vocal, une seule signification, car ils doivent être jugés par leur pouvoir explicatifs. Dans cet article nous révisons quelques études plus récentes qui essayent de trouver des explications plus adaptées à cette problématique.
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Rohdie, Sam. "Italian Neorealist Cinema." Journal of Modern Italian Studies 15, no. 3 (June 2010): 476–78. http://dx.doi.org/10.1080/13545711003768691.
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CACHOEIRA, Luiz Antônio Lima, and Iara Tatiana BONIN. "Pedagogias culturais em realizações de cineastas Mbyá-Guarani." INTERRITÓRIOS 5, no. 9 (December 9, 2019): 17. http://dx.doi.org/10.33052/inter.v5i9.243596.
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RESUMOO cinema indígena vem sendo conformado a partir de um amplo conjunto de narrativas fílmicas cuja realização resulta da ação direta de membros de distintas etnias indígenas brasileiras, com apoio de instituições voltadas para a produção audiovisual autoral. Muitas destas produções têm sido premiadas e exibidas no Brasil e no exterior, acompanhadas, algumas vezes, de sessões de debate com os próprios cineastas e realizadores. Considerando que o cinema indígena dinamiza estéticas singulares, marcadas pelas formas de pensar e de narrar de um povo indígena, no presente texto focalizam-se narrativas cinematográficas feitas por membros do povo Mbyá-Guarani no âmbito do projeto Vídeo nas Aldeias. O objetivo é analisar significados de territorialidade constituídos nos filmes “Desterro Guarani” e “Tava, a casa de pedra”, dos cineastas Mbyá-Guarani Patrícia Ferreira (Keretxu) e Ariel Duarte. Cinema indígena. Pedagogias Culturais. Relações Étnico-raciais. Cultural pedagogies in Mbyá-Guarani filmakers ABSTRACT The Indigenous cinema has been shaped after a wide set of film narratives coming from different Brazilian Indigenous ethnic groups’ action held by institutions aiming at authorial audiovisual production. Many of these productions were rewarded and exhibited abroad sometimes in debates with the very filmmakers and directors. Considering that the Indigenous cinema fosters singular aesthetics, marked by typical Indigenous ways of thinking and narrating, this work has focussed on cinema narratives by Mbyá-Guarani members in the project called Vídeo nas Aldeias (something like ‘Video in Indigenous Villages’). The objective is to analyse meanings of territoriality in ‘Desterro Guarani’ and ‘Tava, a casa de pedra’ by Mbyá-Guarani filmmakers Patrícia Ferreira (Keretxu) and Ariel Duarte. Indigenous cinema. Cultural pedagogies. Ethnic and racial relationships.Pedagogia Culturale dei Cineasti Mbyá-Guarani RIASSUNTO Il cinema indigeno è stato plasmato da una vasta gamma di narrazioni cinematografiche la cui realizzazione deriva dall'azione diretta di membri di diversi gruppi etnici indigeni brasiliani, con il sostegno di istituzioni incentrate sulla produzione audiovisiva autoriale. Molte di queste produzioni sono state premiate e proiettate in Brasile e all'estero, a volte accompagnate da sessioni di dibattito con i registi e gli stessi registi. Considerando che il cinema indigeno dinamizza l'estetica singolare, segnata dai modi di pensare e narrare un popolo indigeno, questo testo si concentra su narrazioni cinematografiche realizzate da membri del popolo Mbyá-Guarani nell'ambito del progetto Video in the Villages. L'obiettivo è analizzare i significati di territorialità costituiti nei film "Desterro Guarani" e "Tava, la casa di pietra", dai cineasti Mbyá-Guarani Patrícia Ferreira (Keretxu) e Ariel Duarte. Cinema indigeno. Pedagogie culturali. Relazioni etnico-razziali.Pedagogías culturales en los logros de los cineastas Mbyá-Guaraní RESUMEN El cine indígena se ha formado a partir de una amplia gama de narraciones cinematográficas cuya realización es el resultado de la acción directa de miembros de diferentes grupos étnicos indígenas brasileños, con el apoyo de instituciones enfocadas en la producción audiovisual autoral. Muchas de estas producciones han sido premiadas y proyectadas en Brasil y en el extranjero, a veces acompañadas de sesiones de debate con los propios cineastas y directores. Teniendo en cuenta que el cine indígena dinamiza la estética singular, marcada por las formas de pensar y narrar a un pueblo indígena, este texto se centra en las narraciones cinematográficas realizadas por miembros del pueblo mbyá-guaraní dentro del alcance del proyecto Video nas Aldeias. El objetivo es analizar los significados de territorialidad constituidos en las películas "Desterro Guarani" y "Tava, a casa de pedra", de los cineastas Mbyá-Guarani Patrícia Ferreira (Keretxu) y Ariel Duarte. Cine indígena. Pedagogías culturales. Relaciones étnico-raciales.
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Soderbergh, Steven. "Toward a Universal Cinema." World Policy Journal 27, no. 3 (2010): 57–65. http://dx.doi.org/10.1162/wopj.2010.27.3.57.
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Latour, Vincent. "Huit années de gestion travailliste des relations raciales (1997-2005) : vers une autonomisation du modèle multiculturel britannique ?" Observatoire de la société britannique, no. 1 (January 1, 2006): 205–17. http://dx.doi.org/10.4000/osb.559.
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Gonçalves, Luciane Ribeiro Dias, and Cairo Mohamad Ibrahim Katrib. "Pós-colonialismo, relações étnico-raciais e universidade." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 2, no. 2 (August 2, 2018): 135. http://dx.doi.org/10.29181/2594-6463.2018.v2.n2.p135-148.
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ResumoO artigo aqui apresentado tem como proposta de análise compreender o papel da universidade na concretização de ações educativas voltadas para a temática étnico-racial, uma vez que essas instituições, no Brasil, têm um histórico de produção do conhecimento pautado numa visão que privilegia, ainda, uma formação centrada em valores europeizantes. Nesta perspectiva, nossa análise tem como preocupação perceber como as relações étnico-raciais vêm emergindo no debate pós-colonial e qual a relação possível entre educação para as relações étnico-raciais e a universidade atual, a fim de projetarmos olhares múltiplos sobre a temática racial, temática esta tão disseminada nos últimos anos, mas tão dicotômica quanto a sua interpretação por parte do Estado brasileiro e significativas para o entendimento do processo de colonialismo e suas marcas na atualidade, silenciando o protagonismo de grande parte da população diferenciada pela cor da pele.Palavras-chave: Pós-Colonialismo. Universidade Pública Brasileira. Educação para as Relações Étnico-Raciais.Postcolonialism, ethnic/racial relations and universityAbstractThe article presented here has as an analysis proposal to understand the role of the university in the completion of education actions towards the ethnical/racial thematic, since that those institutions in Brazil have an historical of knowledge production guided in a perspective that gave preference, still, a formation focused in Europeanizing values. In this perspective, our analyses still have a concern as to perceive how the ethnical/racial relations are emerging in the postcolonial debate and which the possible relation between the education for the ethnical/racial relation and the current university, so we can project multiple visions about the racial thematic as the same being so disseminated in recent years, but so dichotomous about it interpretation by the Brazilian State and meaningful for the understanding of the colonialism process and its marks nowadays, thereby silencing the prominence of a large portion of the population differentiated by the color of it skin.Keywords: Postcolonialism. Brazilian Public University. Education for the Ethnical/Racial Relations.El postcolonialismo, las relaciones étnico-raciales y la universidadResumenLa propuesta de análisis del presente artículo es la comprensión del papel de las universidades en la concreción de acciones educativas orientadas hacia la temática étnico racial, dado que tales instituciones en Brasil tienen un historial de producción de conocimiento pautado en una visión que favorece, además, una formación centrada en valores europeizantes. En esta perspectiva, nuestro análisis tiene como inquietud la detección de la emersión de las relaciones étnico-raciales en el debate postcolonial y la posible relación entre la educación para las relaciones étnico raciales y la universidad actual, a fin de trazar diferentes puntos de observación sobre la temática racial, muy difundida durante los últimos años, pero a la vez tan dividida en cuanto a su interpretación por parte del estado brasileño, así como significativa para la comprensión del proceso de colonialismo y sus marcas en la actualidad, silenciando el protagonismo de gran parte de la población que se diferencia por el color de la piel.Palabras clave: Postcolonialismo. Universidad Pública Brasileña; Educación para las Relaciones Étnico-Raciales.
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Spitz, Markus Oliver. "Cinema: A Visual Anthropology." Journal of Contemporary European Studies 19, no. 2 (June 2011): 308–9. http://dx.doi.org/10.1080/14782804.2011.580932.
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Teixeira, Ana Carolina. "Audacity in the Cinema." Index on Censorship 14, no. 5 (October 1985): 58–60. http://dx.doi.org/10.1080/03064228508533969.
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Denzin, Aline De Souza, and Luiz Gonçalves Junior. "Africanidades para e na educação das relações étnico-raciais." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 2, no. 2 (August 2, 2018): 91. http://dx.doi.org/10.29181/2594-6463.2018.v2.n2.p91-105.
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ResumoEste artigo apresenta os resultados provenientes da realização de uma intervenção com africanidades para a educação das relações étnico-raciais. Voltado para a problematização e o diálogo sobre a diversidade, este estudo objetivou identificar e compreender os processos educativos decorrentes de uma intervenção com africanidades para a educação das relações étnico-raciais na parceria dos projetos “Vivências em Atividades Diversificadas de Lazer e Mais Que Futebol”. Do processo de análise dos dados, emergiu a categoria: Conhecer para reconhecer e reconhecer para conhecer. A partir da investigação realizada, percebemos que a realização de uma intervenção com africanidades possibilitou espaços de diálogo e problematizações que contribuíram para conhecer e reconhecer outras formas de ser e estar ao mundo uns com os outros, praticando o respeito às diferenças na convivência em grupo.Palavras-chave: Processos Educativos. Educação das Relações Étnico-Raciais. Africanidades. Interculturalidade.Africanities for and in education of ethnic-racial relationsAbstractThis article presents the results of an intervention with africanities for the education of ethnic-racial relations. Aimed at the problematization and dialogue on diversity, this study aimed to identify and understand the educational processes resulting from an intervention with africanities for the education of ethnic-racial relations in the partnership of the projects “Experiences in Diversified Activities of Leisure and More Than Soccer”. From the process of data analysis, the category emerged: Knowing to recognize and recognize to know. From the research carried out, we realized that the realization of an intervention with africanities allowed spaces for dialogue and problematizations that contributed to knowing and recognizing other ways of being and being in the world with each other, practicing respect for differences in group living together.Keywords: Educational Process. Education of Ethnic and Race Relations. Africanities. Interculturality.Africanidades para y en la educación de las relaciones étnico-racialesResumenEste artículo presenta los resultados obtenidos con la realización de una intervención con africanidades para y en la educación de las relaciones étnico-raciales. Orientado para la problematización y el diálogo sobre la diversidad, este estudio tuvo como objetivo identificar y comprender los procesos educativos decurrentes de una intervención con africanidades para la educación de las relaciones étnico-raciales en la acción conjunta de los proyectos: Vivencias en Actividades Diversificadas de Ocio y Más Que Fútbol. Del proceso de análisis de datos, emergió la categoría: Conocer para reconocer y reconocer para conocer. A partir de la investigación realizada, percibimos que la realización de una intervención con africanidades posibilitó espacios de diálogo y problematizaciones que contribuyeron a conocer y reconocer otras formas de ser y estar al mundo unos con otros, practicando el respeto a las diferencias en la convivencia en grupo.Palabras clave: Procesos Educativos. Educación de las Relaciones Étnico-Raciales. Africanidades. Interculturalidad.
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Oliveira, Alessandra Guerra da Silva, Carolina Laureto Hora, and Gabriela Luchesi Martins. "Compartilhando sonhos: bem-viver, pedagogia Freinet, arte/educação e educação das relações étnico-raciais." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 5, no. 1 (April 29, 2021): 65–79. http://dx.doi.org/10.29181/2594-6463-2021-v5-n1-p65-79.
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Resumo Diante do momento de crise sanitária, ambiental, ética e econômica mundial, ocasionadas pela pandemia do Coronavírus, o presente estudo se propõe a esperançar mudanças no viver em sociedade a partir dos pensadores indígenas. O objetivo deste ensaio é dialogar com reflexões críticas acerca do pensamento colonial, das acomodações e desesperanças de nosso tempo, do contexto social, político, econômico em que estamos vivendo e trazer considerações sobre o conceito de Bem-Viver como possibilidade de mudanças. Ao buscar uma interface com os temas que permeiam as pesquisas das autoras/pesquisadoras deste estudo, pretende-se estabelecer diálogos entre o Bem-Viver e a Pedagogia Freinet, a Arte/Educação e a Educação das Relações Étnico-Raciais enquanto possibilidades de atuação no campo da educação alinhadas com a cosmovisão indígena.Palavras-chave: Bem-Viver. Pedagogia Freinet. Arte/Educação. Educação das Relações Étnico-Raciais. Sharing dreams: Good Living, Freinet Pedagogy, Art/Education and Education of Ethnic-Racial Relations Abstract In the face of a global health, environmental, ethical and economic crisis caused by the Coronavirus pandemic, the present study proposes to hope for changes in living society from indigenous thinkers. The purpose of this essay is to dialogue with critical reflections about colonial thought, the accommodations and hopelessness of our time, the social, political, economic context in which we are living and bring considerations about the concept of Good Living as a possibility for changes. In seeking an interface with the themes that permeate the researches of authors / researchers of this study, it’s intended to establish dialogues between Good Living and Freinet Pedagogy, Art / Education and the Educacion of Ethnic-Racial Relations as possibilities of action in the field of education aligned with the indigenous worldview.Keywords: Good Living. Freinet Pedagogy. Art Education. Education of Ethnic-Racial Relations. Compartiendo sueños: Buen Vivir, Pedagogía Freinet, Arte/Educación y Educación de las Relaciones Étnico-Raciales Resumen Frente a una crisis sanitaria, ambiental, ética y económica mundial causada por la pandemia del coronavirus, este estudio se propone a esperar cambios en la vida en la sociedad desde los pensadores indígenas. El propósito de este ensayo es dialogar con reflexiones críticas sobre el pensamiento colonial, las acomodaciones y desesperanza de nuestro tiempo, el contexto social, político, económico en el que vivimos y plantear reflexiones sobre el concepto de Buen Vivir como posibilidad de cambios. Al buscar una interfaz con los temas que permean las investigaciones de las autoras/investigadoras de este estudio, se pretende establecer diálogos entre Buen Vivir y Pedagogía Freinet, Arte/Educación y Educación de las Relaciones Étnico-Raciales como posibilidades de acción en el campo de la educación alineado con la cosmovisión indígena.Palabras clave: Buen Vivir. Pedagogía Freinet. Arte Educación. Educación de las Relaciones Étnico-Raciales.
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Saliba, Ana Maria Portugal M. "A tela de kafka: Imagens tecendo um olhar." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 175–85. http://dx.doi.org/10.17851/2317-2096.8..175-185.
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Resumo: A partir das impressões de Kafka frente ao cinema, apresentamos uma leitura da construção de seu romance América, cujo elemento pulsional mais forte concentra-se no olhar: ver/ser visto, aparecer/desaparecer. Pensando o cinema como um patamar de diminuição do real, como narração fugidia, Kafka responde com a escrita.Palavras-chave: Kafka; pulsão escoptofílica; imaginário; relação cinema/escrita.Abstract: Starting from Kafka’s impressions on cinema, we intend to analyse Kafka’s novel América, whose strongest instinctive element is concentrated on the eye and its functions: see / be seen; appear / disappear. Thinking about cinema as an art that diminishes the real, as a scaping narrative, Kafka answers by writing.Keywords: Kafka; scoptophilic instinct; imaginary; relations cinema/writing.
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Wittersheim, Éric. "Bastien Bosa. Itinéraires aborigènes. Histoire des relations raciales dans le Sud-Est australien. Paris, Karthala, 2012, 657 p." Annales. Histoire, Sciences Sociales 71, no. 04 (December 2016): 1053–60. http://dx.doi.org/10.1017/s0395264900049416.
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Annovi, Gian Maria. "Italian Post-Neorealist Cinema." Journal of Modern Italian Studies 18, no. 5 (December 2013): 679–81. http://dx.doi.org/10.1080/1354571x.2013.839597.
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Bourgeault, Ivy Lynn, Jelena Atanackovic, Ahmed Rashid, and Rishma Parpia. "Relations between Immigrant Care Workers and Older Persons in Home and Long-Term Care." Canadian Journal on Aging / La Revue canadienne du vieillissement 29, no. 1 (March 2010): 109–18. http://dx.doi.org/10.1017/s0714980809990407.
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RÉSUMÉLes aidants immigrés jouent un rôle de plus en plus important dans les soins de domicile et les soins de longue durée au Canada, mais l’ampleur totale de leurs relations avec les personnes âgées dans ces cadres est relativement inconnue. Cet article examine le rôle des aidants immigrés dans les deux secteurs de domicile et de soins de longue durée, mettant l’accent sur les relations avec les anciens et les implications pour la qualité des soins. Les données proviennent des entrevues avec les travailleurs, les employeurs et les clients anciens menées dans divers services d’accueil et de soins de longue durée pour personnes âgées dans trois provinces canadiennes: l’Ontario, la Colombie-Britannique et le Québec. Les facteurs qui découlent des origines ethniques ou raciales des aidants immigrés, barrières linguistiques et facteurs contextuels tels que la pénurie de personnel en soins de différents paramètres pour les personnes âgées compliquent la relation entre les aidants immigrés et leurs clients. Dans certains cas, ces facteurs diminuent la qualité des soins. Nous indiquons quelques politiques alternatives que nos conclusions suggèrent devraient être considérées.
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Song, Xu. "Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market." Global Media and China 3, no. 3 (September 2018): 177–94. http://dx.doi.org/10.1177/2059436418805538.
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China’s cinema market has been growing dramatically in recent years. Hollywood exports revenue-sharing movies to China to receive additional box-office revenues. Although globalization accelerates Hollywood movies’ domination in most global film markets, that is not the case in China. Hollywood studios encounter cultural and political complications in China’s cinema market. This research reviews the interplay of Hollywood globalization and the complexity of China’s cinema market, applies a relationship management perspective in analyzing Hollywood studios’ China-focused endeavors, identifies and discusses five key relations, and analyzes why and how Hollywood studios have strategically managed the key relations to boost their revenue-sharing movies’ box-office performance in China.
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Tromble, Meredith, Deborah Forster, and Rachel Mayeri. "Mixing It Up: Primates, Robots, and Other Relations." Public 31, no. 59 (June 1, 2019): 36–45. http://dx.doi.org/10.1386/public.31.59.36_1.
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A conversation about their work and collaboration with scientist Deborah Forster and artist Rachel Mayeri, covering their meeting, Forster’s field research with baboons, Mayeri’s Primate Cinema series of video installations, and their experiences with interspecies communication, concluding with a discussion of Forster’s work in animal FACS and robotics.
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Currie, Gregory. "McTaggart at the Movies." Philosophy 67, no. 261 (July 1992): 343–55. http://dx.doi.org/10.1017/s0031819100040456.
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I shall argue that cinematic images do not have tense: not, at least, in the sense that has been ascribed to them by film theorists. This does not abolish time in cinema, for there can be temporal relations without tense, and temporal relations between cinematic images can indicate temporal relations between events depicted. But the dispensability of tense will require us to rethink our assumptions about what is sometimes called anachrony in cinema: the reordering of story-time by narrative, of which the flashback is the most common example.
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Fisher, Mark. "Solidarity Not Identification: Straub-Huillet's Radical Cinema." Film Quarterly 64, no. 1 (2010): 46–52. http://dx.doi.org/10.1525/fq.2010.64.1.46.
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A review of work by Danièèle Huillet and Jean-Marie Straub——Chronicle of Anna Magdalena Bach (1967), Class Relations (1984), Sicily! (1998), and A Visit to the Louvre (2004)——which discusses the ““Straubian shot,”” use of sound and music, and the films' demand for a fully attentive and ““fraternal”” form of spectatorship.
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Zhabskiy, Mikhail I. "On The Matter of Market in Cinema." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 128–40. http://dx.doi.org/10.17816/vgik83128-140.
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At cinemas inception the market played the role of the midwife. Further on, market relations had been one of the fundamental framing conditions for the formation and the development of cinema as a social institution, with all its merits and demerits. It was along the pathways of the market that cinema crossed over from France to Russia. The state more suffered it rather than accepted it. Nicholas II deemed cinema a vacuous, no-good-for-anyone, and even harmful entertainment. Of the same opinion initially was V. Lenin. But, having positioned himself at the helm of the state, he put forth the task of turning cinema into artistic propaganda and the most important of the arts. Commerce in cinema was subjected to an ideological and aesthetical anathema. However, market relations did not cease to exist altogether. They rather took on a rudimentary and truncated form. But even in that state, market relations came to be one of the decisive conditions for the cost-effectiveness of Soviet cinema. Since many deny it, in the article this viewpoint is overturned by an analysis of statistical materials from 1976 and 1986. It is shown that the cost-effectiveness was concealed by draconian taxation and the economically groundless expenditure on operating the exhibition network which had been built with a view of film service to the entire population, including the rural. In the late 1980s, on the initiative of the Soviet state, a turn was executed toward a legitimate socialist market. But in reality, only the first steps were made in that direction. Intervene did the demise of the state regime in the USSR. In the post-Soviet period a proper development of the market mechanism did not come to pass. Functioning primarily thanks to the state financial support, the national cinema of contemporary Russia is of a mixed sort: a public-mercantile one.
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Granger, Serge. "‘Other Diplomacy’ in Paradiplomacy: Quebec’s Cinema and China." Hague Journal of Diplomacy 11, no. 4 (September 27, 2016): 383–403. http://dx.doi.org/10.1163/1871191x-12341348.
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China has had an important impact on the political mobilization of other forms of diplomacy in the Canadian province of Quebec. Quebec’s missionaries and Maoists have used cinema for propaganda purposes aimed at forging political opinions towards China. Quebec’s modest non-state actor (nsa) — the Quebec cinema lobby — has developed expertise and links with other institutions or actors — both non-state and state — and has had an impact on international relations. Quebec’s cinema is an important lobby participating in a coalition of nsas that triggered and monitors the unesco Convention on the Protection and Promotion of the Diversity of Cultural Expressions. This article examines how Quebec’s cinema lobby has evolved, whether it has tried to influence Canadian government policies towards China and, more broadly, asks what the experience of Quebec filmmakers as non-state diplomatic actors suggests about the ways in which ‘other diplomacy’ can influence international relations.
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Sandon, Emma. "Projecting Empire: Imperialism and Popular Cinema." Journal of Imperial and Commonwealth History 38, no. 4 (October 21, 2010): 642–45. http://dx.doi.org/10.1080/03086534.2010.523966.
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Fanina, Maria A. "Love in the Soviet Qnema as the Stereotype of Gender Relations." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 22–30. http://dx.doi.org/10.17816/vgik8122-30.
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Belov, Vasiliy, Yuri Parfyonov, Alexei Kalugin, Rumija Korotenkova, and Galina Drobyshevsky. "Interrelation of cinema preferences, aggression and interpersonal relations among the teenagers." Uchenye zapiski universiteta imeni P.F. Lesgafta, no. 83 (January 2012): 20–25. http://dx.doi.org/10.5930/issn.1994-4683.01.83.p20-25.
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Barnett, Robert. "The Secret Secret: Cinema, Ethnicity and Seventeenth Century Tibetan-Mongolian Relations." Inner Asia 4, no. 2 (2002): 277–346. http://dx.doi.org/10.1163/146481702793647461.
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AbstractThe Secret History of the Potala Palace, a 1989 film about Mongol-Tibetan relations in the seventeenth century, was a milestone in the still tentative development of Tibetan film, with significant Tibetan participation and close attention to Tibetan sources of history. This paper suggests possible reasons for the withdrawal of the film from circulation, and proposes ways of reading film in the context of contested versions of ethnicity.