Dissertations / Theses on the topic 'Sociology of Cinema'
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Gonçalves, Gabriela Peters Cremasco [UNIFESP]. "Boilesen, Hércules e Vlado: cinema e fragmentos de memória." Universidade Federal de São Paulo (UNIFESP), 2013. http://repositorio.unifesp.br/11600/41745.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fundação Amazônia Paraense de Amparo à Pesquisa (FAPESPA)
Cette dissertation présente les résultats de mon recherche du master BOILESEN, HÉRCULES et VLADO: cinéma et fragments de mémoire ’ x privilégiés de recherche les films Cidadão Boilesen (dirigé par Chaim Litewski, 2009); Hércules 56 (dirigé par Sílvio Da-Rin, 2007); et Vlado: 30 anos depois (dirigé par João Batista de Andrade, 2006), afin d'étudier comment la construction narrative de chaque ’ boration de la mémoire sur la période de la dictature militaire au Brésil. On travaille ici les différents éléments narratifs et esthétiques dans les ouvres – par exemple, les cadres, le rythme de la narration, les mouvements de caméra et la relation entre l'image et les sons (y compris les dialogues) – cherchant ainsi à mettre en évidence les aspects sociologiques qui sont mis en lumière par les trois films. En ce sens, le centre de l'analyse tourne autour des propositions qui visent à penser la mémoire de chaque film parce que, en p p ’ p mémoire qui gagnent force le plus le passé est revisité par le présent.
Esta dissertação apresenta os resultados da pesquisa de mestrado intitulada BOILESEN, HÉRCULES e VLADO: cinema e fragmentos de memória, que utiliza como material privilegiado de pesquisa os filmes Cidadão Boilesen (direção de Chaim Litewski, 2009); Hércules 56 (direção de Sílvio Da-Rin, 2007); e Vlado: 30 anos depois (direção de João Batista de Andrade, 2006), com o objetivo de investigar como a construção narrativa de cada uma das obras enfoca a elaboração da memória do período da ditadura militar no Brasil. Procuramos trabalhar os vários elementos narrativos e estéticos presentes nas produções – como, por exemplo, enquadramentos, ritmo da narrativa, movimentos de câmera e a articulação entre imagem e sons (inclusive diálogos) – buscando assim destacar os aspectos sociológicos trazidos à tona pelos três filmes. Nesse sentido, o centro das análises gira em torno das proposições que buscam pensar a memória em cada filme, pois, em grande medida, os filmes tratam não apenas de um passado vivido, mas de fragmentos de memória que ganham força quanto mais o passado é revisitado pelo presente.
This dissertation shows the results of a master research named BOILESEN, HÉRCULES and VLADO: cinema and memory fragments, that uses as a main research material the movies: Cidadão Boilesen (directed by Chaim Litewski, 2009); Hércules 56 (directed by Sílvio Da-Rin, 2007); and Vlado: 30 anos depois (directed by João Batista de Andrade, 2006), seeking to find how the narrative construction of each movie focuses the memory making about the military dictatorship period. We aim to work the multiple narrative and aesthetic elements present in the productions, such as for example camera framing, narrative rhythms, camera movements, articulation between image and sound (including dialogues) – pursuing to highlight the sociological aspects risen by the three movies. In this sense, the heart of our analysis goes around the prepositions that aim to think the memory of each movie , as, by and large, relate not only to a lived past, but to memory fragments that are strengthened each time the past is revisited by the present.
Violin, Fernando Augusto. "Sociologia no ensino médio sob as lentes do cinema : reflexões acerca da apropriação pedagógica de filmes nos livros didáticos adotados pela diretoria regional de ensino de São José do Rio Preto/SP /." São José do Rio Preto, 2019. http://hdl.handle.net/11449/181839.
Full textBanca: Angela Maria de Sousa Lima
Banca: Maria Eliza Belize Arnoni
Resumo: Como é proposto a construção do conhecimento com base no cinema na escola, mais especificamente no ensino de Sociologia envolvendo o Ensino Médio? Tal pergunta levou a constatar que os livros didáticos cumprem, em boa medida, esse papel. Isto porque, pode-se verificar nos diversos títulos adotados pela rede pública paulista a indicação de filmes. Tentando encontrar respostas à questão, busca-se como objetivo dessa pesquisa compreender a apropriação pedagógica do cinema registrada nos livros didáticos de Sociologia do Ensino Médio disponibilizados no Programa Nacional do Livro e do Material Didático (PNLD) e adotados pela Secretaria Estadual de Educação de São Paulo, mais especificamente na Diretoria Regional de Ensino de São José do Rio Preto/SP. Para tanto, promove-se a identificação, seleção e análise das sugestões de filmes contidas em três livros didáticos: "Sociologia", "Sociologia Hoje" e "Sociologia em Movimento". Na análise, é proposta a metodologia a partir da relação entre ensino e cinema que compreende a apropriação pedagógica dos filmes nos livros didáticos. O exercício reflexivo adotado emprega cinco temas de investigação: gênero, duração, ano, nacionalidade e nexos epistemológicos. A pesquisa foi desenvolvida na UNESP/IBILCE/São José do Rio Preto, apresenta abordagem qualitativa, natureza aplicada e busca conciliar exploração, descrição e explicação, valendo-se de investigações bibliográficas e documentais de primeira mão. O referencial teórico dessa pesquisa...
Abstract: How is building of knowledge based on film in school, more specifically the teaching of Sociology in high school? This question led one to note that the textbooks largely fulfill this role. This because, in the various titles adopted by the public network of São Paulo, the indication of films can be verified. Seeking answers to the question, the objective of this research is to understand the pedagogical appropriation of cinema recorded in the textbooks of Sociology of Secondary Education available in the National Book and Didactic Material Program (PNLD) and adopted by the State Department of Education of São Paulo, specifically in the Regional Board of Education of São José do Rio Preto/SP. We promote the identification, selection and analysis of the film suggestions in three textbooks: "Sociology", "Sociology Today" and "Sociology in Motion". In the analysis, the methodology is proposed based on the relation between teaching and cinema that includes the pedagogical appropriation of the films in textbooks. The reflective exercise adopted employs five research themes: gender, duration, year, nationality and epistemological links. The research was developed at UNESP/IBILCE/São José do Rio Preto, presents qualitative approach, applied nature and reconcile exploration, description and explanation, using first-hand bibliographical and documentary research. The theoretical reference involves contributions from authors who problematize the teaching of sociology in Brazil, in the ...
Mestre
Machado, Maíra Saruê. "Modernidade, cinema e temporalidade." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-04122008-165855/.
Full textThis thesis seeks to understand, through filmic analysis, the ways in which temporality is present in the social imaginary of modernity. To do so, it initially elaborates a historic approach to the construction of modern temporality, reflecting on the loss of narrative, tradition and the changing meaning of death. The analysis of the four films Dolls, Paris, Texas, Under the Sand and Eternity and a Day demonstrates forms of temporality that are presented as a counterpoint to that which is hegemonic in modernity. The key themes approached are elements of rupture: wandering, uprooting, mourning and remembering
Hill, John. "Class, sexuality and the British cinema, 1956-63." Thesis, University of York, 1985. http://etheses.whiterose.ac.uk/10937/.
Full textScarpa, Paulo Cesar Almeida. "Cinema e realismo: Frederick Wiseman." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-06122012-114423/.
Full textIn this thesis I investigate, by means of a sociology of cinema, a selection of films by the American filmmaker Frederick Wiseman (1930-). Being a documentary filmmaker of great importance for what became known as direct cinema or cinema vérité, a cinematographic trend that, by means of certain formal devices the absence of voice-overs, interviews of inter-titles leads to a strong impression of realism. Thereby, I intended to not only better comprehend Wisemans production as well as some considerations on the narrative constructions in his films, but also to consider some of the relations between cinema and realism. While I aim to bring forth a debate regarding this rarely discussed director within the Brazilian literature, I here analyze eight of his films, divided in three different themed topics: hospitals, military and leisure. The analysis was done by means of a sociology of cinema, which understands that the investigation must begin with the film itself, understanding it as a piece of work and as the main source of information. In this thesis, the manner by which Wiseman crafted images and narrative over the course of his filmography is seen as an answer to one of the questions that permeates documentary cinema, namely, on how to depict and detail reality. With this in mind, we can say that the observational camera does not merely observe. It narrates, it speaks and it argues.
Donald, Stephanie Jane. "Chinese cinema and civil society in the post-Maoist era." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320224.
Full textTeixeira, Roberto Aparecido [UNESP]. "Representações da periferia no cinema brasileiro: do neorrealismo ao hiper-realismo." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/88794.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Analisamos nesta pesquisa cinco obras da produção cinematográfica nacional: Rio, Quarenta Graus (1955), Rio, Zona Norte (1957), O assalto ao trem pagador (1962), Quanto vale ou é por quilo? (2005) e Tropa de Elite (2007). Todos esses filmes trazem, cada qual a sua maneira, as representações da periferia no cinema brasileiro. Alguns com claras preocupações políticas, outros mais engajados com o mercado cinematográfico. Tomamos tais narrativas como porta de entrada para análise do pensamento social que lhes dá origem e que permeia suas estéticas. Selecionamos essas obras como representativas de parte do pensamento social que nelas se encontra sob a forma de discursos variados sobre a questão “periferia”. A pesquisa divide-se em duas partes principais: a Parte I tem o objetivo de analisar as representações cinematográficas dos anos de 1950/60; a Parte II cumpre o mesmo percurso de análise sobre a produção dos anos 2000. Ao final, buscamos comparar os dois períodos históricos com o intuito de observar quais as mudanças ocorridas nas representações da periferia no cinema brasileiro em dois importantes momentos da história do país
We analyzed in this research five works of the national film production, Rio, Quarenta Graus (1955), Rio, Zona Norte (1957), O assalto ao trem pagador (1962), Quanto vale ou é por quilo? (2005) and Tropa de Elite (2007). All of these films, each in its own way, present representations of the periphery in Brazilian films’ industry. Some of them, present clear political concerns, while others, are more engaged with the film market. We take these narratives as a gateway for analysis of the social thought that originates these films and permeates their aesthetic. We selected these works as representative of part of the social thought, which, in these cases, is present in the form of various discourses over the matter periphery. This research is divided in two main parts: Part I aims to analyze the cinematic representations of the years 1950/1960, Part II fulfills the same path analysis on the production of the 2000s. At the end, we compare the two historical periods in order to observe the changes on the peripheral representations in Brazilian film production in two important moments of the country’s history
Rocha, Francisco Alberto. "Figurações do ritmo: da sala de cinema ao salão de baile paulista." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-06072007-103450/.
Full textThis research concerns the diffusion of a particular repertory and musical aesthetic related to dance and the balls in the context of São Paulo\'s modernization. We focus particularly on the moment that a new centrality emerged in the cityscape, between, the 1930´s and 1950\'s. In this context, the musicality has been blended with some representations of the Modern as well as has improved in the urban imaginary certain ideas related to progress and modernity. We search for the meanings of this musical repertory in relationship to the \"experience\" of the cinema and the practice of the balls
Teixeira, Roberto Aparecido. "Representações da periferia no cinema brasileiro : do neorrealismo ao hiper-realismo /." Marília : [s.n.], 2012. http://hdl.handle.net/11449/88794.
Full textBanca: Paulo Eduardo Teixeira
Banca: Odair da Cruz Paiva
Resumo: Analisamos nesta pesquisa cinco obras da produção cinematográfica nacional: Rio, Quarenta Graus (1955), Rio, Zona Norte (1957), O assalto ao trem pagador (1962), Quanto vale ou é por quilo? (2005) e Tropa de Elite (2007). Todos esses filmes trazem, cada qual a sua maneira, as representações da periferia no cinema brasileiro. Alguns com claras preocupações políticas, outros mais engajados com o mercado cinematográfico. Tomamos tais narrativas como porta de entrada para análise do pensamento social que lhes dá origem e que permeia suas estéticas. Selecionamos essas obras como representativas de parte do pensamento social que nelas se encontra sob a forma de discursos variados sobre a questão "periferia". A pesquisa divide-se em duas partes principais: a Parte I tem o objetivo de analisar as representações cinematográficas dos anos de 1950/60; a Parte II cumpre o mesmo percurso de análise sobre a produção dos anos 2000. Ao final, buscamos comparar os dois períodos históricos com o intuito de observar quais as mudanças ocorridas nas representações da periferia no cinema brasileiro em dois importantes momentos da história do país
Abstract: We analyzed in this research five works of the national film production, Rio, Quarenta Graus (1955), Rio, Zona Norte (1957), O assalto ao trem pagador (1962), Quanto vale ou é por quilo? (2005) and Tropa de Elite (2007). All of these films, each in its own way, present representations of the periphery in Brazilian films' industry. Some of them, present clear political concerns, while others, are more engaged with the film market. We take these narratives as a gateway for analysis of the social thought that originates these films and permeates their aesthetic. We selected these works as representative of part of the social thought, which, in these cases, is present in the form of various discourses over the matter "periphery". This research is divided in two main parts: Part I aims to analyze the cinematic representations of the years 1950/1960, Part II fulfills the same path analysis on the production of the 2000s. At the end, we compare the two historical periods in order to observe the changes on the peripheral representations in Brazilian film production in two important moments of the country's history
Mestre
Gomes, Lenildo Monteiro. "Um prato que se come frio: a dimensÃo da violÃncia nos filmes de Quentin Tarantino." Universidade Federal do CearÃ, 2006. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10809.
Full textAlguns aspectos da sociedade contemporÃnea podem ser analisados a partir da leitura peculiar dimensionada no processo de produÃÃo artÃstica. Dessa forma a arte surge nesse contexto histÃrico influenciada pelo consumismo pela sociedade da comunicaÃÃo e pelos mass media, sendo relacionada ao esteticismo e à espetacularizaÃÃo, reconfigurando-a notadamente na produÃÃo voltada para a televisÃo e para o cinema. A arte à expressÃo da vida e objeto de anÃlise das relaÃÃes sociais e, seus pressupostos, remetem a problemÃtica da estÃtica. Nesse sentido a imagem à expressÃo para a compreensÃo dos fenÃmenos, notadamente no que diz respeito ao cinema e seu desenvolvimento ao longo da histÃria, sua linguagem, tÃcnica e estrutura narrativa. Os filmes de Quentin Tarantino redimensionam esteticamente a problemÃtica da violÃncia. Como arte industrial, referÃncia do sÃculo XX que difundiu estilo de vida e comportamento, o cinema desenvolveu linguagem e estrutura prÃprias, tendo no tratamento estÃtico e tÃcnico uma forma de composiÃÃo de sua narrativa. Os filmes analisados tÃm como caracterÃstica comum a sublimaÃÃo do ornamento e da alegoria mediante a explicitaÃÃo da violÃncia existente em algumas situaÃÃes dramÃticas.
Some aspects of contemporary society can be analyzed from the particular reading scaled in the process of artistic production . Thus the art arises in this historical context influenced by consumerism by society communication and the media , being related to aestheticism and spectacle , especially in reconfiguring the production for television and film . Art is expression of life and the object of analysis of social relations and their assumptions , refer the issue of aesthetics. In this sense the image is an expression to understand the phenomena , notably with regard to the film and its development throughout history , its language , technical and narrative structure . The films of Quentin Tarantino resize aesthetically problematic of violence. As industrial art , reference twentieth century who spread lifestyle and behavior , cinema developed its own language and structure , and the technical and aesthetic treatment a form of composition of his narrative . movies analyzed common feature sublimation ornament and allegory by explicit violence existing in some dramatic situations .
Furtado, Sylvia Beatriz Bezerra. "Images that resist: in the intensive Aleksander Sokurov film." Universidade Federal do CearÃ, 2010. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11178.
Full textThe artistic phenomenon should be , first of all defined by the description of forces . In the forms , colors , sounds , materials , and in the special case of cinema mode these forces as part of automation mechanism images . In this sense Deleuze gives to the arts by assigning the role to detect the signs , capture them and make them sensitive . Such that we can no longer say about art as a place of production of meanings , but the trial of strength. It is, this field of think of art as material composition forces . Art does not reproduce forms imaginary , but captures materials , concrete strength. The potency of the art resides therefore in different assemblages with the materials that compose . Only then can understand why , in Deleuzian perspective, the film should be seen by the internal relationship images, the way they articulate their threads - plans , movements camera, the relationship between movement and time, etc. , and not by the relationship they establish with real or believable to the production of images. Not indices of realism or rapprochement between the visible world and the ways that we take the film , but at he is able to capture and compose sensitive world.
O fenÃmeno artÃstico deve ser, antes de tudo, definido pela inscriÃÃo de forÃas. Nas formas, nas cores, nos sons, nos materiais, e no caso especial do cinema, no modo como essas forÃas fazem parte do mecanismo de automaÃÃo das imagens. Nesse sentido que Deleuze dà Ãs artes ao atribuir-lhe o papel de detectar os signos, captÃ-los e tornÃ-los sensÃveis. De tal modo, que jà nÃo podemos mais dizer sobre a arte como lugar de produÃÃo de significados, mas de experimentaÃÃo de forÃas. Trata-se, neste campo, de pensar a arte como composiÃÃo de forÃas materiais. A arte nÃo reproduz formas imaginÃrias, mas capta forÃas materiais, concretas. A potÃncia da arte reside, portanto, nos diferentes agenciamentos com os materiais que a compÃe. Sà assim podemos entender porque, na perspectiva deleuziana, o cinema deve ser visto pela relaÃÃo interna das imagens, pelo modo como se articulam seus encadeamentos â planos, movimentos de cÃmera, relaÃÃo entre movimento e tempo, etc, e nÃo pela relaÃÃo que estabelecem com o real ou com a produÃÃo de imagens verossÃmeis. NÃo à pelos Ãndices de realismo ou de aproximaÃÃo entre as formas e o mundo visÃvel que devemos tomar o cinema, mas pelo que ele à capaz de captar e compor mundo sensÃveis.
Santana, Gilmar. "Riso, lágrima, ironia e tratados: Pedro Almodóvar - genialidade e paradoxo em construção permanente." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-14112007-142859/.
Full textThe outcome of any authentic artistic work depends on various social mechanisms that make its permanence possible. More than just validating quality, an author needs to highlight the conditions of his proposal against the creative universe that he has chosen and, more than anything, to learn the functionality of its rules. Once this is assimilated, the must - in every single new work - articulate continuous negotiations that make possible an extension of the resulting message. That is what Pedro Almodóvar has done throughout his cinematic career since his first long film was released to the commercial circuit in 1980. This analysis highlights how cinematographic fields were complex and narrow in the past and continues to be - paths that have nonetheless led him to succeed.
Hearne, Joanna Megan. ""The Cross-Heart People": Indigenous narratives,cinema, and the Western." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/290072.
Full textLapacek-Trout, Natalie L. ""Cool Buzzword" or "Social Failure"? Examining the Nerd on Television." Thesis, Southern Illinois University at Edwardsville, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1560764.
Full textThis study delves into the world of nerd culture as it is presented on network, cable and web television. Drawing on foundational research within both popular culture and scholarly research, the author examines the culture through textual analysis of one episode from each of five television shows: The Big Bang Theory; 30 Rock; King of the Nerds; The Nerdist; and The Guild. As this study's theoretical framework is the Frankfurt scholars' theory of the commodification of culture, the authenticity of nerd culture in its present state is a central issue. Findings from the literature and textual analyses show that the portrayals of nerds on television designed for mass audiences often exploit traditional nerd stereotypes to encourage viewers to "play nerd" while also presenting certain nerdish characteristics as a social warning. Conversely, nerd culture as presented for niche audiences are indeed closer to what the authentic culture is, which is a community of like-minded individuals who wish to create, innovate and express their uniqueness rather than simply consume products and trends associated with the culture.
Furtado, Sylvia Beatriz Bezerra. "Imagens que resistem: o intensivo no cinema de Aleksander Sokurov." reponame:Repositório Institucional da UFC, 2007. http://www.repositorio.ufc.br/handle/riufc/24566.
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The artistic phenomenon should be , first of all defined by the description of forces . In the forms , colors , sounds , materials , and in the special case of cinema mode these forces as part of automation mechanism images . In this sense Deleuze gives to the arts by assigning the role to detect the signs , capture them and make them sensitive . Such that we can no longer say about art as a place of production of meanings , but the trial of strength. It is, this field of think of art as material composition forces . Art does not reproduce forms imaginary , but captures materials , concrete strength. The potency of the art resides therefore in different assemblages with the materials that compose . Only then can understand why , in Deleuzian perspective, the film should be seen by the internal relationship images, the way they articulate their threads - plans , movements camera, the relationship between movement and time, etc. , and not by the relationship they establish with real or believable to the production of images. Not indices of realism or rapprochement between the visible world and the ways that we take the film , but at he is able to capture and compose sensitive world.
O fenômeno artístico deve ser, antes de tudo, definido pela inscrição de forças. Nas formas, nas cores, nos sons, nos materiais, e no caso especial do cinema, no modo como essas forças fazem parte do mecanismo de automação das imagens. Nesse sentido que Deleuze dá às artes ao atribuir-lhe o papel de detectar os signos, captá-los e torná-los sensíveis. De tal modo, que já não podemos mais dizer sobre a arte como lugar de produção de significados, mas de experimentação de forças. Trata-se, neste campo, de pensar a arte como composição de forças materiais. A arte não reproduz formas imaginárias, mas capta forças materiais, concretas. A potência da arte reside, portanto, nos diferentes agenciamentos com os materiais que a compõe. Só assim podemos entender porque, na perspectiva deleuziana, o cinema deve ser visto pela relação interna das imagens, pelo modo como se articulam seus encadeamentos – planos, movimentos de câmera, relação entre movimento e tempo, etc, e não pela relação que estabelecem com o real ou com a produção de imagens verossímeis. Não é pelos índices de realismo ou de aproximação entre as formas e o mundo visível que devemos tomar o cinema, mas pelo que ele é capaz de captar e compor mundo sensíveis.
Leme, Caroline Gomes 1986. "Cinema e sociedade = sobre a ditadura militar no Brasil." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281781.
Full textAcompanhado de 2 DVDs: Cenas compiladas
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: De 1979 aos dias atuais, a ditadura militar fez-se presente em um número significativo de obras fílmicas. Analisar essa produção cinematográfica é examinar como está sendo ressignificado o passado, quais questões estão sendo obliteradas, que ambiguidades e tensões perpassam a interpretação do processo sócio-histórico. Esta pesquisa propõe-se a trabalhar a relação entre cinema e sociedade no que tange aos enunciados social e culturalmente construídos a respeito do período do regime militar vigente no Brasil de 1964 a 1985. O objeto de investigação são os filmes de longametragem lançados entre 1979 e 2009 que se reportam ao tema da Ditadura Militar no Brasil e seus desdobramentos. O pressuposto é o de que as obras fílmicas, enquanto produções culturais, podem ser consideradas meios legítimos e diferenciados para o conhecimento da sociedade, uma vez que são constitutivas da realidade social, produzindo significados, valores e proposições expressados através de sua construção própria. Pauta-se na concepção de cultura do materialismo cultural de Raymond Williams (2000) e fundamenta-se essencialmente no referencial teórico-metodológico de Pierre Sorlin (1985,1994). Realiza-se um levantamento amplo e fundamentado da filmografia que tematiza a ditadura militar brasileira e dedica-se um olhar mais atento aos seguintes filmes: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980); Nunca fomos tão felizes (Murilo Salles, 1984); Corpo em delito (Nuno Cesar Abreu, 1990); Ação entre amigos (Beto Brant, 1998); A terceira morte de Joaquim Bolívar (Flávio Cândido, 2000) e Zuzu Angel (Sérgio Rezende, 2006), os quais correspondem a um espectro amplo de possibilidades cinematográficas.
Abstract: From 1979 to today, the military dictatorship has been theme of a significant number of movies. Analyze this filmography is to examine how the past has been reframed, what aspects are being obliterated, what are ambiguities and tensions that underlie the interpretation of socio-historical process. This research proposes to study the relationship between cinema and society with respect to the socially and culturally constructed enunciations about the period of military rule in Brazil (1964-1985). The object of investigation are the feature-length films released between 1979 and 2009 that relate to the theme of military dictatorship in Brazil. It is assumed that the movies, as cultural productions, can be considered legitimate and differentiated sources for investigate the society, since they are constitutive of social reality and produce meanings, values and propositions expressed by its own construction. It is guided in the concept of culture from Raymond Williams (2000)'s cultural materialism and is based essentially on Pierre Sorlin (1985, 1994)'s theoretical and methodological framework. It is done a broad and grounded survey of the filmography that deals with the Brazilian military dictatorship and is dedicated a closer attention to the following films: E agora, José? Tortura do sexo (Ody Fraga, 1980); Paula - A história de uma subversiva (Francisco Ramalho Jr., 1980);
Mestrado
Sociologia
Mestre em Sociologia
Marquez, Zaida. "Articulating a diasporic identity: The case of Latin American filmmakers in Quebec." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28420.
Full textGOMES, Lenildo Monteiro. "Um prato que se come frio: a dimensão da violência nos filmes de Quentin Tarantino." www.teses.ufc.br, 2006. http://www.repositorio.ufc.br/handle/riufc/7170.
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Some aspects of contemporary society can be analyzed from the particular reading scaled in the process of artistic production . Thus the art arises in this historical context influenced by consumerism by society communication and the media , being related to aestheticism and spectacle , especially in reconfiguring the production for television and film . Art is expression of life and the object of analysis of social relations and their assumptions , refer the issue of aesthetics. In this sense the image is an expression to understand the phenomena , notably with regard to the film and its development throughout history , its language , technical and narrative structure . The films of Quentin Tarantino resize aesthetically problematic of violence. As industrial art , reference twentieth century who spread lifestyle and behavior , cinema developed its own language and structure , and the technical and aesthetic treatment a form of composition of his narrative . movies analyzed common feature sublimation ornament and allegory by explicit violence existing in some dramatic situations .
Alguns aspectos da sociedade contemporânea podem ser analisados a partir da leitura peculiar dimensionada no processo de produção artística. Dessa forma a arte surge nesse contexto histórico influenciada pelo consumismo pela sociedade da comunicação e pelos mass media, sendo relacionada ao esteticismo e à espetacularização, reconfigurando-a notadamente na produção voltada para a televisão e para o cinema. A arte é expressão da vida e objeto de análise das relações sociais e, seus pressupostos, remetem a problemática da estética. Nesse sentido a imagem é expressão para a compreensão dos fenômenos, notadamente no que diz respeito ao cinema e seu desenvolvimento ao longo da história, sua linguagem, técnica e estrutura narrativa. Os filmes de Quentin Tarantino redimensionam esteticamente a problemática da violência. Como arte industrial, referência do século XX que difundiu estilo de vida e comportamento, o cinema desenvolveu linguagem e estrutura próprias, tendo no tratamento estético e técnico uma forma de composição de sua narrativa. Os filmes analisados têm como característica comum a sublimação do ornamento e da alegoria mediante a explicitação da violência existente em algumas situações dramáticas.
Victorino, Lilian. "O documentário vai a Hollywood: a paixão pelo \'real\' e os filmes de Michael Moore." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-05112014-190949/.
Full textMy dissertation presents a sociological analysis of five Michael Moores films: Roger & Me (1989), The Big One (1997), Bowling for Columbine (2002), Fahrenheit 9/11 (2004), and Capitalism: a love story (2009). The main objective of this research is to investigate the particularity of Moores films, as he is internationally recognized as the most watched documentary director in history. Through the visual construction of each film, I analyze in detail the film themes, group formation, social values, conflicts, Moores proposed solutions, and the various symbolic constructions suggested to the viewer. I argue that his movies provide a social construction of the real, which can be accepted and perceived by the audience as an accurate description of reality. The task of this dissertation is to deconstruct and mediate the discourse of his movies through a sociological analysis. I analyse the films suggested stories and the social relations presented to viewers that have led to the popularity of his body of work
Krainitzki, Eva. "Exploring the hypervisibility paradox : older lesbians in contemporary mainstream cinema (1995-2009)." Thesis, University of Gloucestershire, 2011. http://eprints.glos.ac.uk/918/.
Full textSilva, Júnior Ailton da Costa. "Cinema, imaginário e subjetividade: o filme Vidas Secas e a construção de diferentes memórias." Universidade Federal de Alagoas, 2014. http://www.repositorio.ufal.br/handle/riufal/3545.
Full textCAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Este trabalho de cunho histórico-sociológico se propôs a investigar, por meio da memória coletiva e do cinema, o processo de formação de duas memórias distintas que adquiriram uma específica ligação através do processo de elaboração do longa-metragem Vidas Secas de 1963. Primeiramente temos a formação de uma memória cultural e política dos cineastas da primeira fase do Cinema Novo, os quais foram extremamente impactados após a conclusão do filme, e em seguida a memória dos antigos moradores do município de Minador do Negrão, situado no interior de Alagoas, que tiveram participações no processo de filmagens realizado nos anos de 1962 e 1963. É através da união entre a análise fílmica e a reconstrução da memória coletiva de um grupo específico, que foi realizada uma reflexão acerca da influência da cultura audiovisual. Procurando elucidar como e a partir de quais experiências foram construídas as memórias dos cinemanovistas, tomando por base o conceito de brasilidade romântico-revolucionária forjado pelo sociólogo Marcelo Ridenti, e em outra medida a dos moradores do pequeno povoado durante o processo de elaboração do filme. Tendo como suporte a memória coletiva, a sociologia e o cinema, foi possível evidenciar as diferentes nuances que forjaram algumas mudanças na memória social dos moradores da região quando estes passaram a ter um contato direto com a equipe técnica de filmagens. A argumentação que utilizei transita ainda entre três pontos distintos que adquirem ligação no decorrer do texto.Primeiramente a importância que o sertão nordestino assumiu na construção de uma narrativa específica que formou a gênese do então Cinema Novo; um segundo ponto também analisado voltasse para a criação do enredo fílmico de Nelson Pereira dos Santos a partir da obra literária de Graciliano Ramos, finalizando com uma discussão envolvendo a memória dos antigos moradores por meio de entrevistas e relatos. Para tanto, foram utilizadas entrevistas feitas com seis moradores que ajudaram no processo de criação do filme.Através delas buscou-se acessar as lembranças e fatos ocorridos naquele período, características do cotidiano das filmagens, a adaptação da população com atores e cineasta, bastidores e locais escolhidos para as cenas principais. Estes aspectos foram alvo de nosso trabalho, que encontrou na memória coletiva e no processo de interação social desencadeado na época seu principal recurso empírico e analítico.
Cottrell, Matt Dee. "The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema." DigitalCommons@USU, 2009. https://digitalcommons.usu.edu/etd/485.
Full textDelaporte, Chloé. "Genres et socialisation a Hollywood : sociologie des films américains des réalisateurs de cinéma d’origine européenne expatries aux États-Unis entre 1900 et 1945." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030042.
Full textThis thesis consists of a sociology of American films by European émigré directors expatriated to the United States between 1900 and 1945. The corpus, exhaustive, has been elaborated from a group delimited to 77 directors, and includes 2657 films. This work informs a particular aspect of the transatlantic cultural transfer : professional socialization in Hollywood through the categorization system of movie industry into « genres ». Genre is viewed as a product of social construction, in a pragmatic way. Thus, our research falls within sociology of arts and borrows its subject from the film history. Two approaches are mixed. The first is microsociological, meaning films of the corpus are analyzed using a qualitative method, seeking to investigate their production context and reception process. The second is macrosociological, for films are next analyzed using a quantitative method, particularly by having recourse to statistic tools. Our a! mbition is not to offer a comparison of socialization through genre between the European émigré and « the others », but definitely to conduct an inner one, by measuring similarities and differences between the group’s numerous directors, these having varied careers and trajectories. This thesis brings into light the effective impact of a certain number of things on socialization dynamic in Hollywood. We demonstrate therefore that professional status at the time of American expatriation is a prevalent factor
Johnson, Austin Haney. "Doing cisgender vs. doing transgender| An extension of 'doing gender' using documentary film." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555293.
Full textTrans men have been the subject of many empirical studies in recent years that focus primarily on their engagement with masculinity within interaction. By highlighting the experiences of trans men, researchers argue that the persistent and often invisible experiences of gender inequality, specifically those of cisgender women, are made more visible. While scholars studying trans men in these scenarios categorize these interactions under the general heading of doing gender, I argue that these studies highlight experiences of doing cisgender, defined in this paper as individuals' accomplishment of gender within interaction according to cisnormative standards. However, the generalized moniker of doing gender is complicit in the marginalization of trans individuals' experiences of gender because it marks the dominant gender identification, cis, as the unnamed norm and eclipses trans-specific experiences of gender. While understanding how trans people do cisgender is an important contribution to the literature, I argue that doing cisgender is one component of trans people's experience of doing gender. My primary contention in this paper is that trans people also do transgender; that is, they are held accountable to transnormative standards that police and enforce the medical/legal/social access to trans as an identity category. To illustrate the differences between doing cisgender and doing transgender, I conduct a qualitative content analysis of nine documentary films featuring trans men, highlighting instances in the films of trans men doing cisgender and doing transgender.
Chaves, Maria Margarete Pinto. "Representação da infância em documentários brasileiros: ser criança não significa ter infância." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/1174.
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Esta tese teve como proposta uma pesquisa acerca da representação dos modos de socialização da infância em documentários brasileiros de 2000 a 2013: A Invenção da Infância (SULZBACH, 2000), Que letra é essa? (ROCHA, 2004), Criança, a alma do negócio (RENNER, 2008), Infância Incomum (NATIONAL GEOGRAPHIC, 2012) e Mitã (MATTOS, 2013). Utilizamos os documentários como base empírica por acreditar que eles nos permitiriam valiosas reinterpretações contemporâneas sobre concepções e modos de socialização da infância brasileira em diferentes contextos sociais, econômicos e culturais. Trata-se de um estudo de Antropologia do Cinema que se utiliza do cinema como objeto de pesquisa, no caso, para estudo das concepções e modos de socialização da infância brasileira. Durante a análise fílmica, foi feita uma desconstrução da narrativa fílmica, seguida de sua reconstrução com algumas de suas imagens, de suas múltiplas vozes e a análise das suas representações sobre a infância fundamentando-se em algumas referências teóricas sobre o assunto.
This thesis aimed to research on the representation of childhood socialization modes in Brazilian documentaries from 2000 to 2013: A Invenção da Infância (SULZBACH, 2000), Que letra é essa? (ROCHA, 2004), Criança, a alma do negócio (RENNER e NISTI, 2008), Infância Incomum (NATIONAL GEOGRAPHIC, 2012) and Mitã (MATTOS, 2013). We use the documentary as empirical basis for assuming that they would allow us valuable contemporary reinterpretations of Brazilian childhood’s conceptions and modes of socialization in different social, economic and cultural contexts. It is an anthropology study of cinema that uses cinema as a research object, in this case, to study the conceptions and socialization modes of Brazilian childhood. During the film analysis, it was made a deconstruction of the film narrative, then its reconstruction with some of its images, its many voices and the analysis of their representations of childhood based on some theoretical references to the subject.
Ródenas, Cantero Gabriel. "Jim Jarmusch: Lecturas sobre el insomnio americano (1980-1991)." Doctoral thesis, Universidad de Murcia, 2009. http://hdl.handle.net/10803/10835.
Full textThe present Ph.D. tackles the first period in Jim Jarmusch´s Filmography. The main Thesis is that his Cinema is a reaction to the Status Quo during the so-called "Reagan in-office Period" and a relecture of the previous Filmic Tradiction
Guirau, Marcelo Cizaurre. "Figurações da indefinição: a epistemologia travada de Matrix." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-23012008-112021/.
Full textIn this work, we are going to study the Matrix trilogy from the perspective of figuration. The analysis of the narrative fabric of these movies reveals many failures and inconsistencies. Such failures expose some dilemmas of the experience under the domain of late capitalism. The ambiguity and indetermination zones which we identified in Matrix have led us to think these movies to be an unsolved cognitive effort. This is the jammed epistemology of Matrix, which is going to be analyzed not as a simple diagnosis failure due to the movies\' creator\'s lack of cognitive lucidity, but as a significant example of the exposition of the limits of historical figuration.
Cardoso, Ana T?zia Patr?cio de Melo. "A no??o de acontecimento na experi?ncia do DOCTV RN IV Sangue do Barro." Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13667.
Full textThis dissertation presents a reflection upon the notion of event, inspired by the contributions of Edgar Morin to the thinking of the present. The research analysis this notion particularly from the experience of the documentary titled Sangue do Barro, which was the winner of the 4th edition of DOCTV, in the federal state of Rio Grande do Norte in 2008. The study focuses on how facts from daily life can be approached by the documentary making process, and how in this process the questioning of facts leads to the questioning of social realities. In this perspective, through the illustrative case of Sangue do Barro, the research develops the hypothesis of how in the documentary process, which aims at revealing a particular history, is the revealing of the particular able to reflect the universal. The dissertation thus assumes this situation as precisely the configuration of the sociology of present, proposed by Edgar Morin. Furthermore, along with the theoretical premises of the sociology of the present, the research performs a brief historical analysis of documentary practices, Brazilian audiovisual public policies, and it also discusses the technical contributions of several contemporary film makers and contemporary thinkers, such as Jean Rouch, Bill Nichols, Ismail Xavier, Consuelo Lins, Gilles Lipovetsky, Jean Serroy, Michel Foucault, Alfredo Pena-Vega, Nicole Lapierre, etc
A presente disserta??o de mestrado consiste na reflex?o sobre a no??o de acontecimento, ? luz do pensamento de Edgar Morin, particularmente refletida na experi?ncia do document?rio Sangue do Barro, vencedor da quarta edi??o do DOCTV, no Rio Grande do Norte, em 2008. Neste sentido, a pesquisa extrai do fazer documental o foco nas quest?es cotidianas, de onde se parte dos fatos para se questionar as realidades sociais. Assim, no exemplo de Sangue do Barro, a disserta??o analisa a hip?tese de como o procedimento documental, com foco em revelar uma hist?ria particular, pode de fato fazer com esse particular reflita o universal, o que finda por configurar-se em uma sociologia do presente, conforme proposta por Edgar Morin. A presente pesquisa ? complementada ainda por uma breve an?lise contextual do cinema verdade, das pol?ticas p?blicas de audiovisual e difus?o do document?rio no Brasil. Al?m dos pressupostos te?ricos da sociologia do presente de Edgar Morin, s?o abordadas ainda as contribui??es te?ricas para a compreens?o do g?nero document?rio de Jean Rouch, Bill Nichols, Ismail Xavier, Consuelo Lins, Gilles Lipovetsky, Jean Serroy, Michel Foucault, Alfredo Pena-Vega, Nicole Lapierre, entre outros
Estrada, Gabriel S. "In nahui ollin, a cycle of four indigenous movements: Mexican Indian rights, oral traditions, sexualities, and new media." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280008.
Full textRéguant, Frédérique. "La puissance des genres fictionnels de l'imaginaire : sociologie d'une mouvance sociétale." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30027/document.
Full textMagic, monsters, vampires, heroes, the representations of the extraordinary are pervasive and fascinate the crowd. Bookshops that open at midnight for the release of the last Harry Potter, crowded cinemas for the last movie of the Hobbit trilogy, growing cultural manifestations, role playing games and more, are only symptoms of a societal evolution of new ways to live in our era. In constant mutation, these “fictional literary genres of the imaginary”, as we call them, have penetrated many spheres of people’s lives. In this perspective, we will try to analyze and understand people’s interest for these genres, what they evoke in people’s minds at an individual level and at collective one. We will study this topic in a comprehensive sociology and will use some comprehension elements supplied by the imaginary sociology especially in what it brings to the study of presenteeism
Chartain, Lucile. "Le cinéma allemand contemporain en France : la production de l'image d'un autre." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCB208.
Full textThis PhD presents the mechanisms of the appearance of German cinema in France since 1990, from its sphere of production to its individual reception. How can contemporary German cinema support new forms of encounter with the Other for French spectators? The analysis draws on the studies of culture undertaken by the Frankfurt School, as well as on contributions from the sociology of cinema and its reception. It also builds on empirical research conducted with major stakeholders : people working in German production on the one hand, and French spectators on the other. Since 1990 the production of German cinema has undergone changes resulting in the creation of a more productive film landscape. The rise in production has led to an increased export of German cinema, notably to France. This is a contradictory development: it has admittedly allowed a diversification in the nature of movies screened, but this diversification has been based on conformist approaches, smoothing out any heterogeneity. The export and advertising of the productions has tended to support historical themes whilst German comedies have been excluded from French screens in a self-fulfilling prophecy. The reception of contemporary German cinema has then led to an active reinvestment in more or less stereotypical worldviews of the Other. The encounter with German cinema has also fluctuated between being an experience of Germany and an experience of the world. The exoticism of German cinema has been too subtle to have any direct impact on the representation of the Other. Its influence has occurred implicitly on intertwined levels: on iconographic images, societal representations, as well as meta-representations
Die Dissertation aus dem Fachbereich Soziologie stellt die Passagen des deutschen Kinos in Frankreich seit 1990 dar - von der Produktionssphäre bis hin zur individuellen Rezeption. Hierbei bedient sie sich sowohl an den Kulturstudien der Frankfurter Schule als auch an den Beiträgen der Rezeptionssoziologie. Des weiteren basiert sie auf einer empirischen Studie, die die Sichtweise von Akteuren der deutschen Produktionsbranche und französischer Konsumenten analysiert. Die zeitgenössische Produktion zeichnet sich durch diverse Mutationen aus, deren Kreuzung zu einer vielfältigeren Kinolandschaft führt. Die Entstehung einer Schnittmenge aus kommerziellem Kino und Autorenfilmen, die zu einer qualitativ hochwertigen Unterhaltung führt, basiert überwiegend auf Historienfilme mit authentischem Charakter und führt zu einem Rückschluss auf das deutsche Kino auf lokaler und internationaler Ebene. Der Export der Filme, die durchaus als Kulturgut wahrgenommen werden, trägt zu einer polarisierten Sichtweise bei. Das deutsche Kino wird aus der Sicht französischer Händler neu bewertet, bedient sich jedoch dabei einer sehr konformistischen Art und Weise, die dazu neigt, sich an historischen Filmen zu bedienen und deutsche Komödien auszugrenzen. Dies führt dazu, dass der französische Zuschauer, von seinem Nachbarn, qualitativ hochwertige Historienfilme erwartet. Diese Kategorisierung von Deutschtum in Filmen führt zu einer Art Stereotypisierung im Hinblick auf den Anderen. Diese Rezeption fördert wiederum die Materalisierung abstrakter Phänomene, die an einer generalisierten Erfahrung des Andersseins bezüglich Deutschtum und Universalität anknüpft
Cavaleri, Giuseppe. "Le cinéma italien en France : histoire, société et diffusion : étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100096/document.
Full textOne may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals
È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival
Ethis, Emmanuel. "Les spectateurs du temps : introduction a une sociologie de la reception des oeuvres filmiques." Paris, EHESS, 1998. http://www.theses.fr/1998EHESA023.
Full textAlthough time is part of the living substance of cinematographic creation and constitutes the hid, den foundation of our cultural compass, it is often unexplored in its most vivid anthropological dimension. When examined in this perspective, each film narrative can be viewed as the result of a splendid time construction which goes through a never-ending process of recomposition in the spectator's eye. In fact the introduction to the sociology of filmwork perception proposed in the spectators of time sets out to experiment literally the idea that the spectators' modes of perception are largely condi, tioned by the way they conceive and experience time in real life. In that sense, the cinema is a for, ceful reminder of the singular beat of modernity. One forgets all too frequently that if one may indeed feel stranded a thousand miles away from any civilisation, one may also feel stranded after being lured into the time maze which the cinema offers us, and which turns out to be far less objec, tive than one might have thought. Indeed, quite surprisingly our readings of films refer to an appre, hension of time which, incidentally, is a revealing sign of our social and cultural identity. The present study tries to bring out the different ways of apprehending time patterns in filmwork by means of an investigation protocol where spectators are made to react to real films, thereby gra, dually revealing some of the basic elements of the relationship we entertain with the cinema. This experiment runs along three different lines ; the rhetoric of film narrative, the comprehension of the cinema as a genre and the value judgment passed upon filmwork, and it means to explore the ways in which the spectator makes sense out of what he sees. The conclusions of this study, based as it is upon a microsociological approach of individual prac, tices, are not strikingly different from those of macrosociological works dealing with cultural consu, mer habits; the idea is to go deeper into certain aspects, and possibly to unveil the sociological dimension of the many-sided intimate relationship which develops between the work and its spec, tator. For, being a spectator also means accepting the imposed time of the filmwork. Which trans, forms the way real time is experienced by whoever accepts this confrontation
Rachetti, Luiz Gustavo Ferri. "Sociologia e cinema: o uso do audiovisual na aprendizagem de sociologia no ensino m?dio." PROGRAMA DE P?S-GRADUA??O EM CI?NCIAS SOCIAIS, 2016. https://repositorio.ufrn.br/jspui/handle/123456789/21580.
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O presente trabalho tem como objetivo discutir as possibilidades de di?logo das imagens audiovisuais com conceitos abordados na base curricular do Ensino M?dio para a ?rea de Sociologia. Ao mesmo tempo em que a imagem se faz presente no cotidiano da juventude atual, o visual se torna cada vez mais documento e instrumento indispens?vel na leitura sociol?gica dos fatos e fen?menos sociais. Inspirado nas obras de Raymond Williams, Marcel Martin, Pierre Sorlin e Jos? de Souza Martins, este trabalho busca entender como a entrada da imagem no universo da Sociologia abre um amplo terreno de indaga??es, d?vidas e experimentos que enriquecem o conhecimento produzido por essa ci?ncia e ampliam a consci?ncia de sua import?ncia. Este estudo foi realizado com estudantes do Ensino M?dio de uma escola p?blica do Rio Grande do Norte e buscou, dentro das perspectivas de Paulo Freire e Edgar Morin, direcionamentos para pr?ticas pedag?gicas que possibilitassem a utiliza??o das imagens no cotidiano escolar. O m?todo utilizado foi a Pesquisa-A??o que, atrav?s da inser??o gradual das imagens e das discuss?es que aconteceram durante as reuni?es, proporcionou o aparecimento e desenvolvimento de tem?ticas sociol?gicas. Os resultados foram pautados no discurso dos alunos e na produ??o de um curta-metragem para demonstrar o processo de aprendizagem nas tem?ticas sociol?gicas. Sob o ponto de vista do pesquisador, os jovens compreenderam, de uma maneira simples, a leitura de imagens e a linguagem cinematogr?fica, e constru?ram argumentos e propostas de interven??o no seu ambiente escolar.
This work aims to discuss the possibilities of dialogue between audiovisual images and conceptual proposals addressed in the National Curriculum guidelines of High School for the area of Sociology. Considering that the image is present in the daily life of youth, the visual becomes increasingly document and tool in sociological reading of the facts and social phenomena. Inspired by the works of Raymond Williams, Marcel Martin, Pierre Sorlin and Jos? de Souza Martins, this study aims to understand how the use of image in the universe of Sociology opens a wide field of inquiries, questions and experiments that enrich the knowledge produced by this science and broaden awareness of their importance. This study was conducted with students from one public High School of Rio Grande do Norte and, based on the perspectives of Paulo Freire and Edgar Morin, searched directions for pedagogical practices that would enable the use of images in everyday school life. The method used was the qualitative research that, through the gradual insertion of images and discussions during the meetings, provided the appearance and development of sociological themes. The results were based on both speech of the students and the production of a short film to demonstrate the learning process in sociological themes. According the point of view of the researcher, the students were able, in a simple way, to visualize images and comprehend cinematographic language, and built arguments and proposals for intervention in their school environment.
Baik, Seung Kyung. "Faire valoir le cinéma de qualité ˸ les labels d’art et essai en France et les salles réservées aux art films en Corée du Sud." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030008.
Full textThis present research explores the valuing process of art cinema through two markets, created mainly by the movie theater label “Art et Essai” in France and “Movie Theater for Art films” in South Korea. It traces the economic, political and practical inventions, which enabled quality cinema, or auteur cinema, to be formed and to gradually define the very notion of quality. Inspired by pragmatic ideas, this study addresses the collective experience of the audience that leads to the distinction between “going to the cinema” and “seeing a movie”. This comparative historical research of two different countries which have strong traditions of “quality” cinema reveals the importance of the relationship between the socio- economic construction of quality and the various dimensions invented by movie industry participants, who are interested not only in screening films, but also and notably in attracting spectators and creating their audiences.Despite the similarity of some general figures of their industry such as national films’ market share and cinema admissions per capita, they differ in three ways: the beginning and the development process of the quality film market; government subsidies for art houses by means of quality labels and their impact on the identity formation of quality films in the market; and finally the landscape of art houses today. Analyses of each country presented in turn, because of their great difference, are however following the same path: starting from the presentation of enlightening early stage of the film industry and of the first government intervention against the American invasion; entering into details about art film market creation, subsidy policy changes and implementation of different modes of distribution in movie theater market; and concluding with the present situation
Pinto, Aurélie. "Les salles de cinéma d'art et d'essai : sociologie d'un label culturel entre marché politique et politique publique." Amiens, 2012. http://www.theses.fr/2012AMIE0026.
Full textThis dissertation adopts an interdisciplinary approach which combines economic sociology, sociology of culture and political science in order to study the "Art et essai" label. It aims at explaining the specificity of a market in which a quality label functions as amesurement and as a still open issue. The first part "Socio-history and topography of the 'Art et essai' label reveals the competing priciples at stake in the process of qualification on the market of cinematographic exploitation, in which are intertwined cultural, educational, industrial and political considerations. Two statistic surveys, one based on data relative to the labelled movie theatres, the other based on the itinerary of movie classified as "Art et essai" in French movie theatres show clearly the heterogeneity of the "Art et essai" movie theatres and highlight local configurations of competition between movie theatres which produce extremely variegated local exploitation markets. A second part, "Local markets of 'Art et essai' movie theatre demonstrates hox the 'Art et essai' label is defined structurally on its actual existing markets. Contesting an essentialist definition of the label, our approach here aims at explaining its different meanings according the social structuration of the audiance, the history of the exploitation in each territory, and the social trajectory of the movie theatres managers. The "Art et essai" movie theatre, considered it turns as "shapr", "independant", "small", "prestige", "repertoire" or "neighbourhood" movie theatre, is less defined through the programming of an aesthetic canon than through an alternative and always locally situated offer of cultural goods
Kouts, Aurite. "Silence on tourne! Incidences des interactions entre acteurs dans le cadre d'un processus creatif." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0032.
Full textThis thesis studies the nuts and bolts of the filming of a feature film through the interactions of the people working on the set in the particular context of Israeli cinema. My thesis follows the works of sociologists of the broader interactionist school of thought such as Howard Becker or Erving Goffman. The thesis is based on several months of fieldwork as a participant observer on the film set of a contemporary Israeli feature film filmed mostly in Jerusalem as well as thirty interviews which bring an unprecedented overview of the way films are made in the country. Principal photography is the stage of intense collective action during which different agents interact together in a creative process. Thus, the film set is at the center of rich and particular social interactions. By analyzing those interactions, one can uncover their influence on the making of the film. The thesis also demonstrates the peculiarities of filming a feature film in a city, Jerusalem, where religion and the geopolitical context affect the codified organization of the film set
Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.
Full textBlanc, Mathias. "L'Image-relation : sociologie du monde du cinéma documentaire." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20080.
Full textThe world of documentary films involves a number of actors who work to the direction, production and broadcasting of these films. N France, the published retranscriptions of debates - held either in festivals or within professional societies -, as well as the articles in specialized magazines, testify to and contribute to the propagation of aesthetic, ethical and political ideas. The difference which is claimed between documentary film and television report leads us to question a prevailing type of action. Furthermore, one wonders if confining those views within a critical approach of the instrumental action of mass media does not relegate to a secondary importance the communicative action at work throughout the direction of documentaries. The qualitative analysis of the representations and of the widespread practices that are put forward questions the cinematic link to the Other. It leads to construct an ideal-type of pictures and sounds to take it into account: the image-relation
Pujol, Ozonas Cristina. "Cinefilia y crítica de cine en España (1990-2000). Una aproximación sociocultural." Doctoral thesis, Universitat Ramon Llull, 2010. http://hdl.handle.net/10803/9215.
Full textA lo largo de este trabajo, he intentado defender la idea de que los juicios de valor que elabora la crítica de cine española están inscritos en tradiciones culturales que derivan, la mayor parte de las veces, de categorías histórica y socialmente construidas. En este caso, la cinefilia, en cualquiera de sus acepciones, sería el origen sociocultural de las tradiciones cinematográficas de gran parte de la crítica. De ella surgirían las ideas y conceptos que maneja la crítica acerca de lo que es arte, cultura y cine. Por otro lado, he desarrollado la idea de que estas tradiciones cinéfilas, por muy diversas que puedan ser desde un punto de vista histórico, cultural y social, se convierten en una práctica institucionalizada desde el momento en que se formulan a través de la crítica de cine. En cuanto institución, por tanto, la crítica trabaja para mantener su posición social privilegiada como estamento regulador de los discursos cinematográficos que circulan en la sociedad en un momento histórico determinado. La propuesta de analizar la crítica de cine en los años 90 es porque en esa década se formaliza un cambio generacional largamente incubado durante los 80. En este aspecto, se produce un choque generacional en el que cada formación crítica, más allá de sus tradiciones culturales y cinéfilas, trabajará para legitimar unos gustos cinematográficos y consolidarlos como parte de la institución. En el proceso, los mismos críticos se erigen en representantes de esos gustos emitiendo discursos públicos acerca del cine y la cultura, jerarquizando, haciendo juicios de valor y discriminando modelos estéticos cinematográficos y culturales. En este sentido, la crítica de cine funciona como un espacio de confrontación de los gustos culturales de las diferentes tradiciones cinéfilas, gustos que se van institucionalizando a medida que los discursos se legitiman social y culturalmente. Estos discursos cinematográficos y estos procesos de institucionalización están sometidos a múltiples variables sociales, culturales, históricas, económicas, nacionales, generacionales y de género que los sitúa más allá del campo cinematográfico. A lo largo de este trabajo, he intentado profundizar en cada uno de estos parámetros para establecer los orígenes y significados de los discursos y prácticas culturales que circulan en torno al cine. El método de análisis que me ha permitido un acercamiento interdisciplinar a la cinefilia y la crítica de cine es la rama de los estudios culturales que viene de la teoría cultural y la sociología de la cultura.
Throughout this work I have attempted to defend the idea that value judgments produced by the Spanish film criticism are enrolled in cultural traditions that derive, most of the times, from historically and socially constructed categories. In this case, cinephilia, in any of its forms, would be the sociocultural background of the cinematic traditions of much of contemporary Spanish film critics. From it arises the ideas and concepts to handle criticism about what art, culture and film should be. Furthermore, I developed the idea that these cinéphiles traditions, however different that may be from an historical, cultural and social perspective, become an institutionalized practice from the time they are made through film criticism. As an institution, therefore, film criticism works to maintain its privileged status as a regulator estate of those cinematic discourses circulating in a society at a particular historical moment. The proposal to analyze Spanish film criticism in the 90s, is because in that decade formalizes a long-incubated generational change since 80s. In this aspect, there is a generational clash in which each critical training, beyond cultural and cinéphiles traditions, will work to legitimize and consolidate some cinematic tastes as part of the institution. In this process, critics are put forward as representatives of those tastes by issuing public statements about cinema and culture, a hierarchy, making discriminating judgments, and aesthetic models and cultural films. In this sense, film criticism works as a confrontation of cultural tastes of the different cinéphile traditions, and tastes are becoming institutionalized as legitimate social and cultural statements. These cinematographic discourses and institutionalizing processes are subject to multiple social, cultural, historical, economic, national, generational and gender variables, which puts them beyond the cinematographic field. Throughout this work I have attempted to delve into each one of these parameters in order to establish the origins and meanings of discourses and cultural practices that circulate around the cinema. The method of analysis that has allowed me to an interdisciplinary approach to cinephilia and film criticism is the branch of cultural studies that comes from cultural theory and sociology of culture.
Teles, Paulo Roberto Alves. "As representações de intolerância e de grupos juvenis no século XXI a partir da produção cinematográfica contemporânea." Pós-Graduação em Sociologia, 2013. https://ri.ufs.br/handle/riufs/6261.
Full textAs produções cinematográficas ligadas a temas que, de formas diretas ou mais contidas, se propuseram a apresentar a intolerância, foram lugar - comum no cenário do cinema mundial. Nesse sentido, a presente pesquisa analisa as representações de intolerância e de práticas fascistas através da produção cultural - filmográfica pertencente ao século XXI. Para isso, foram escolhidas como objetos empíricos do trabalho as obras Hooligans (Green Street Hooligans - 2005), de Lexis Alexander, e This is England (2006), de Shane Meadows. Diante disso, desperta a nossa atenção a frequência de filmes produzidos que possuíram como temática tribos urbanas relacionadas a comportamentos nitidamente marcados por posturas fascistas, além do fato de esses grupos estarem envolvidos em atos violentos contra inúmeras minorias, dentre elas, judeus, negros, homossexuais e, especialmente, imigrantes. Desse modo, a pesquisa questiona a possibilidade do cinema como veículo capaz de explicar esse fenômeno urbano cada vez mais frequente nas grandes metrópoles.
Grégori, Florence. "Sociologie de l'image filmique, analyse de l'image en son régime mental." Paris 5, 1998. http://www.theses.fr/1998PA05H022.
Full textIn the present study we only take interest to underground, and independant films and directors a motion picture film exists as a result of cutting. By deleting some scenes and assembling others into a desired sequence, most of the time the director got his film. When suddenly the film is going through a sequence to another, we ordinary say there is a cut. At this particuliar place stands what we call here a mental image. We present here an analysis, in a sociological way, of these mental impressions. From the data we got through the latter analysis, we organized our results and compared them with data and results we obtained from the observation of the common and domestic life. At last, questionning the two parts of our study, we can define our new manners of thinking, of acting, and simply of being, as Emile Durkheim did two hundred years ago
Kastler, Benoît. "Des âges au cinéma : la culture cinématographique des jeunes spectateurs." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3063.
Full textMy thesis title is « ages and cinema : the cinematographic culture of young spectators ». This work deals with the seventh art socialization among youth and focus on the determinations of age – known as one of the most important sociological variable to understand societies – to select, taste and appreciate feature movies and series.In order to understand better its action, we decompose age between four different scales in the first part : individual age, socio-collective age, historical age and age of the objets surround us. This categories aren’t closed on themselves : they are combined by the actors to analyse and interprete arts and situations. Each temporality fragment known or imagined on each scale, lived or remembered by the actor can be mobilised as an appreciation’s tool. Theorising each age is a long work which necessits a better comprehension of individuality, memory, social interrelations, time, histories and body growth. We demonstrate that everybody embodies and crosses different fragments of different scales in everyday life to understand himself, the world surrounding and ultimately, the feature films content. Ways to understand, judge and appreciate art are a good field for studying temporal relations because arts objects are relatively preserved in time and tell about societies of the past. Each situation, person, object is structured by different kind of virtual or lived temporalities. When they are crossed according to the actor’s knowledge and his society position, they bring to different ways of art’s pleasure.The second part of my thesis shapes the first theorical one. It analyses the youth cinematographic culture. Thirty-four young spectators contributed to my sociological survey. They were aged from eight to fourteen years old. I studied the present socio-political structures in France and Europe leading to different forms of cinematographic socialisation. This part copes with the first feature movies rememberances – which are almost always composed by animation movies passed on by the parents – and their role in present art appreciation. At the age of the participants, the cinematography faces a global censure agreement : violent features are banished. Nevertheless, growing means to socialized with, that’s why two chapters of my thesis are consacred to the reception of more violent types of show at this ages, like the horrific gender for example which is often enjoyed by the youth. I try to understand how young people assimilate, step by step, the dark side of the world, the one which was previously hidded for their own safety. However, it is now a requirement of growth to mix with this forbidden shows. Peer reinforcement and autonomy help this initiation. They also bring to new cinematographic cultures as much as new social considerations. All this studies help us to understand how children and teenagers develop series and feature films’ taste by sharing it with friends or parents, depending on the content. This tell us about the developpment of quality classifications based on aesthetic, tales, relations, peers conversations, art memory, emotions and feelings. Finally, cinematographic culture appears to be a large social and aesthetical laboratory for the youth.This thesis is based on a qualitative survey. More specifically, I used a bottom-up method (Becker : 1988). The theories and the demonstrations are no less than the result of five years of several investigations’ technics on the field study. I began with individual consultations in France, Luxembourg and Belgium, then made collective groups in associations and schools. I created different questionnaires for the parents and the teenagers in aim to observe connections between their cinematographic cultures. This thesis claims interdisciplinarity
Alexandre, Olivier. "La règle de l'exception : sociologie du cinéma français (1981 à nos jours)." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0076.
Full textThe exception of French cinema includes a triple singularity. First, the sector represents the main model against the Hollywood industry. Second, unlike other European countries, the mutation (liberalization and expansion) of the audiovisual sector in the 1980s hasn't led to a collapse of the industrial and artistic sector. Finally, the director plays a cardinal role. International, historical and authorial : the proposed thesis aims to unravel this triple paradox. The thesis claims that a system of relationships and specific rights is based on a substainable embedding between different professional worlds. This cultural ecology, ie macroaggregation composed by different social worlds, is the main cause of the sustainability of the sector. Founded or refounded organizations and the establishment of suitable layouts are the foundation of the socio-cinematic history. Moreover, like other cultural industries, the French cinema is highly segmented. An executives core differs from the circle of "independent", itself differentiated from the "outsiders" one. Market strategies ad public action create a structural uncertainty about careers. Education, work abilities and the loyalty of their networks are the adhocratique factors allowing filmmakers to become "authors"
Bispo, Bruno Vilas Boas. "As imagens da utopia no cinema documentário de Patrício Guzmán." Faculdade de Filosofia e Ciências Humanas, 2016. http://repositorio.ufba.br/ri/handle/ri/27501.
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Esta dissertação versa sobre as representações fílmicas da utopia na trilogia “A Batalha do Chile”, do cineasta chileno Patrício Guzmán. Buscando articular uma abordagem materialista da sociologia estética com o desenvolvimento categórico de Ernst Bloch acerca do fenômeno da utopia. O texto analisa os filmes cujas imagens e sons foram tomados em película de 16mm de forma direta no decorrer das movimentações e mobilizações políticas que aconteceram com ao acirramento da luta de classes durante o governo de Salvador Allende, no Chile entre 1970 e 1973. A película fora montada e lançada durante o exílio do cineasta nos anos seguintes ao golpe militar desferido em 11 de setembro de 1973. Ao entender que a arte, através do entrecruzamento entre forma e conteúdo, carrega elementos de representação do mundo social, através de uma análise estético sociológica, buscou-se fazer uma leitura de tais representações construídas no dado momento histórico. Portanto, o objetivo fora constituir um conhecimento acerca da forma como o tema da Utopia fora abordado artisticamente pelo cineasta. No caso do cinema, as soluções técnicas e estéticas constituem a expressividade autoral do cineasta, que formula em sua produção uma dada forma de apresentação da realidade social que constitui ao mesmo tempo sua autenticidade artística e sua visão esteticamente mediatizada do mundo, sendo essa visão legitimada socialmente (dentro dos mecanismos de validação próprios do campo artístico). Nesse sentido, sua obra acaba por ser um objeto privilegiado para o entendimento da arte como fenômeno social, nos seus aspectos estéticos, históricos e sociológicos. Mais especificamente, o filme documentário aqui estudado é influenciado por uma perspectiva cinematográfica vinculada aos elementos de renovação estética dos novos cinemas, sob influência direta ou indireta do cinema soviético (Dziga Vertov, Eisenstein), do neorrealismo italiano, da novelle vague francesa, e do novo cinema latinoamericano. Sofreu impacto direto da proliferação das tecnologias de tomada da imagem e som sincrônico, ambas possibilitadas pela câmera Eclair e o gravador de som Nagra-4, o que deu mobilidade aos cineastas da época, constituindo uma nova estética de um cinema documentário muito mais participativo. Desta forma, seguindo uma tendência à postura politizada dos cineastas da época, o talento de Guzmán na utilização das possibilidades técnicas e estéticas ao retratar a efervescência política de caráter prérevolucionário vivida no Chile retratado, propiciou uma obra autêntica, tida como uma das mais importantes na história do cinema documentário mundial, e que traz uma série de imagens utópicas desse momento histórico.
The present dissertation discusses the filmographic representations of utopia in the trilogy "A Batalha do Chile" ("The Battle of Chile"), by the Chilean filmmaker Patrício Guzmán. It tries to articulate a materialist approach to aesthetic sociology with the categorical development by Ernst Bloch about the utopia phenomenon. The text analyzes the movies whose images and sounds have been taken in 16mm film in a direct way during the political movements and mobilizations that took place with the aggravation of the class fight during Salvador Allende government, between 1970 and 1973 in Chile. The film was edited and released during the filmmaker's exile in the years following the military coup set forth in September 11th 1973. By understanding that art, through the intertwining between form and content, bears representation elements to the social world, and by means of an aesthetic sociological analysis, the present dissertation seeks to read such representations under the light of their historical moment. Therefore, the objective has been to constitute a knowledge about the way the Utopia subject has been artistically approached by the filmmaker. In his case, the technical and aesthetic solutions constitute the filmmaker's authorial expressiveness , which formulates in his production a certain way of presenting the social reality which constitutes at the same time his artistic authenticity and his aesthetically mediatized vision of the world, being this vision socially legitimized (within the validation mechanisms pertaining to the artistic field). In this sense, his work ends up being a privileged object for the understanding of art as a social phenomenon, in its aesthetical, historical and sociological aspects. More specifically, the documentary film presently studied is influenced by a cinematographic perspective linked to the aesthetic renovation elements of the new cinemas, under direct or indirect influence of the soviet cinema (Dziga Vertov, Eisenstein), the italian neo-realism, the french nouvelle vague and the new latin american cinema. It has been under direct impact of the synchronous image and sound capturing technologies, both made possible by the Eclair camera and the Nagra-4 sound recorder, which gave mobility to the filmmakers back then, constituting a much more participative new aesthetics of a documentary cinema. In this way, following a trend to the politized position of the filmmakers of that time, the talent of Guzmán in using the technical and aesthetic possibilities when portraying the political effervescence of prerevolutionary characteristic lived in the portrayed Chile, has enabled an authentic work, considered to be one of the most important in the history of world documentary cinema, and which brings a series of utopical images of that historical moment.
Dejean, Gary. "A travers la nuit : anthropologie des récits de souffrance au cinéma." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010598/document.
Full textThis anthropologic examination of several families of stories of suffering in cinema history uses psychology and sociology in order to determine universal tendencies in representation, by overtaking generic or territorial considerations. In using the same conceptual tools for the study of several narrative forms often considered as mutually exclusive, this critical analysis manages to surpass the usual dichotomies, and to offer an original definition of suffering as a feeling of lack or absence of control. It is indeed only through the convergent study of fictitious (stories), real (testimonies) and scientific (studies) discourses about suffering, or more specifically through the examination of active representations, that suffering itself can be studied, as an aesthetic phenomenon, subjective by definition. By systematically assimilating itself to a feeling of absence of control, suffering reveals that it dims out as soon as an inverse feeling of control intervenes. This way, the social function of fictitious stories presents itself as an attempt to offer appeasement through the arousal of the feeling of control, when only a few of them also show a philosophical dimension consisting in carrying out this teaching
Cervulle, Maxime. "L'écran blanc : diversité, rapports sociaux de "race" et sociologie des spectateurs de cinéma." Paris 1, 2011. http://www.theses.fr/2011PA010559.
Full textMeyer, Georges. "L'Etat, l'art et les moeurs : sociologie historique de la censure du cinéma (1961-1975)." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080016.
Full textThis thesis explores the transformation of censorship in cinema by the French state, between 1961, the date when a more strict reform was applied, and 1975, the year that classification “X” was put in place and the same year freedom of expression in cinema was also established. This is the question at stake, through this institution and its mutation, which is played in the bifurcation during “les années 1968”. Because of this, in this thesis, a specific theoretical framework is used which articulates the political sociology of the institutions and the theory of civilization by Norbert Elias. Resources were primarily conducted in state archives, but also includes printed sources from the press
Boudou, Nadine. "Les imaginaires cinématographiques de la menace. Émergence du héros postomoderne." Phd thesis, Université Paul Valéry - Montpellier III, 2012. http://tel.archives-ouvertes.fr/tel-00818856.
Full textOliveira, Maíra Zenun de. "Os intelectuais na Terra de Vera Cruz : cinema, identidade e modernidade." reponame:Repositório Institucional da UnB, 2007. http://repositorio.unb.br/handle/10482/2822.
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Esta pesquisa trata da relação entre cinema, identidade e modernidade, a partir da análise sociológica sobre as especificidades da narrativa audiovisual desenvolvida pela Cia. Cinematográfica Vera Cruz, empreendimento que procurou consolidar o discurso de modernização da imagem socioeconômica da realidade brasileira através do projeto de industrialização do cinema nacional. A dissertação, portanto, tem como proposta apresentar alguns aspectos sociológicos da estrutura tecnológica que deu a base para as discussões desenvolvidas pelo campo artístico-intelectual brasileiro sobre a industrialização do cinema no Brasil em relação à própria consolidação da noção de identidade nacional. Nesse sentido, foram enfatizados dois contextos socio-históricos distintos de atuação do campo cinematográfico brasileiro: a fase dos pioneiros, que corresponde à virada do século XIX para o século XX, e o momento de consolidação e falência do primeiro projeto de indústria do cinema nacional com a criação da Vera Cruz, entre as décadas de 1940 e 1950. Para tanto, a dissertação está estruturada em três momentos analíticos distintos. O primeiro capítulo refere-se ao desenvolvimento de uma discussão sobre o cinema enquanto signo da modernidade brasileira, durante a virada do século XIX para o XX, contextualizando o surgimento de um pensamento cinematográfico nacional preocupado com a questão da industrialização da produção. O segundo capítulo trata da apreciação de dados sobre a Vera Cruz – suas opções estéticas e técnicas, o formato e a estrutura criada pela empresa – a partir de uma análise sobre o contexto sociocultural da época em que a companhia foi criada. Por fim, no terceiro capítulo foi realizada uma interpretação sócio-histórica e análise fílmica detalhada sobre as imagens que costuram o documentário Obras Novas – Evolução de uma Indústria, produzido pela companhia em 1953, a fim de oferecer ao leitor uma imagem mais precisa sobre o discurso de modernização do Brasil elaborado pela Vera Cruz. _________________________________________________________________________________________ ABSTRACT
This research deals with the relation between cinema, identity and modernity, from the standpoint of a sociological analysis of the specificities of the filmic narrative produced by Vera Cruz, an enterprise that endeavoured to consolidate a modernising discourse on the socio-economic image of Brazilian reality, through a project of modernization of national cinema. This dissertation therefore intends to present some sociological aspects of the technological structure that acted as support for debates occurring in the artistic as well as in the intellectual fields in Brazil, on the consolidation of a notion of national identity. For this purpose two different socio-historic contexts of action in the cinematographic field in Brazil were stressed: the Age of Pioneers, corresponding to the turn of the 20th century; and the moment of consolidation - and of the further breakdown – of that first project of a national film industry, with the creation of Vera Cruz between the decades of 1940 and 1950. In order to do so, the dissertation is structured in three different analytical moments. The first chapter refers to the development of a debate on cinema as a sign of Brazilian modernity, during the turn of the 20th century, contextualizing the irruption of a national cinematographic intellectuality concerned with the issue of the industrialisation of production. The second chapter deals with data on Vera Cruz – its technical and aesthetic options, the format and structure of the enterprise itself – by means of a analysis of the socio-cultural context of the time when the enterprise was created. Finally, in the third chapter a sociohistorical interpretation is put forward, together with a detailed filmic analysis of the images in the documentary Obras Novas- Evolução de uma Indústria, produced by the company in 1953, with the intent of offering the readers a few clear images about the Brazilian modernisation speech produced by Vera Cruz.