Filmmakers
Mostrando 1-12 de 12 artigos, teses e dissertações.
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1. O CINEMA E A LITERATURA VÃO À GUERRA: O CONFLITO CIVIL ESPANHOL (1936-1939) NA PERSPECTIVA DE GEORGE ORWELL E KEN LOACH
Resumo A guerra civil espanhola (1936-1939), um dos acontecimentos emblemáticos do século XX, foi responsável por aglutinar uma geração de jovens escritores, poetas e artistas que consideravam o conflito como algo central em sua vida. Este artigo tem como objetivo analisar como alguns escritores e cineastas têm retratado a guerra civil espanhola em sua
Rev. Hist. (São Paulo). Publicado em: 09/12/2019
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2. The Performative Force of Bodies: Affective Realism in Contemporary Brazilian Cinema
AbstractThis article traces the emergence of a younger generation of Brazilian filmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender. One of the most prominent features in these recent works is a questioning of
Ilha Desterro. Publicado em: 2015-12
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3. Entre artistas, cineastas e sujeitos desviantes, a questão do olhar educado / Among artists, filmmakers and deviant subject, the issue of the educated look
This paper proposes an investigative reflection and (mis)reading helical tangle of lines that seeks, in the discourses and images of dadá and the avant-garde film movement dogma95 elements for performing an artistic intervention in the Rodoviaria Plano Piloto in Brasília (DF). The focus of the text is aimed at the questions that underlie the notion of look
IBICT - Instituto Brasileiro de Informação em Ciência e Tecnologia. Publicado em: 01/06/2012
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4. O SensÃvel da Imagem: Sensorialidade, Corpo e Narrativa no Cinema ContemporÃneo da Ãsia / The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
Introducing as a theme the relation between sensoriality, body and narrative at the recent cinema production released in Asian countries, as Thai, Taiwan and Japan, this paper searches to investigate how movies as Tropical Malady (Sud Pralad, 2004), by Apichatpong Weerasethakul; Goodbye, Dragon Inn (Bu San, 2003), by Tsai Ming-Liang; Cafà LumiÃre (KÃhà J
IBICT - Instituto Brasileiro de Informação em Ciência e Tecnologia. Publicado em: 16/06/2010
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5. The both films based on Orpheu, slum representation of landscape: the outside view and the belonging / Os dois Orfeus, representações da paisagem favela no cinema: o olhar estrangeiro e o olhar de pertencimento
This dissertation shows a reflection focused in the analysis cultural geography of the slumscape in the city of the Rio of Janeiro and in its representation in the cinema, for the movie speech presently in the works Black Orfeu (1959), direct by of Marcel Camus and Orfeu (1999), directed by Carlos Diegues. Both of them were inspired on Vinicíus de Moraess p
IBICT - Instituto Brasileiro de Informação em Ciência e Tecnologia. Publicado em: 31/03/2009
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6. Paisagem cinematográfica: o NUDOC e a produção cultural nas décadas de 1980-1990
This dissertation is related to the history of the cinema from Paraíba, having as a specific object the Film Documentation Center of the Federal University of Paraíba (NUDOCUFPB), established in 1979, which is a major locus of reflection and film production in the 1980s. Thus, we aimed to discuss its foundation, placed in the context of "modernization", as
Publicado em: 2009
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7. Revelando os Brasis : o objeto assumindo o papel do sujeito em um projeto de inclusão audiovisual / Revealing the Brazils : the object assmes the role of the subject in this public project of video production as a way of inclusion
Express themselves through the audiovisual media has been a strong feature of the contemporary. Access to new technologies, which each day are cheaper and easier to handle, works to encourage the use of this code of communication in diverse situations. It is within this reality that appears, in 2004, Revelando os Brasis, a project of the Ministry of the Cult
Publicado em: 2009
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8. O pensamento gráfico no cinema: a construção e a representação da imagem cinematográfica
This thesis inserts the graphic thinking in the theoretical reflections about cinema, analysing the aesthetic and mediatics phenomena that can be observed in movies, as a result of this thought. It is a theoretical descriptive proposition that tries to identify the parameters of the graphic aesthetics, in representation of the cinemas image as result of the
Publicado em: 2008
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9. O cinema de Abbas Kiarostami: Entre a transparência e a auto-inquirição
This study is an approach to the work of the Iranian filmmaker Abbas Kiarostami. This approach is made through the analysis of some of his productions, especially in the period between Wheres my friends house? and The wind will carry us. Other films will eventually be requested in order to complement analysis. The study is separated in two parts. The first h
Publicado em: 2007
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10. "Uma câmera para o povo": o vídeo digital como meio de representação do cotidiano por presidiários do Carandiru
This work analyzes the consequences of the production of technical images for the knowledge of the daily life, understood as "life-world", concept developed by Schütz. Although Flusser considers that the technical images possess the potential totransform the knowledge (epistemology), as well as the models of behavior (ethics) and the experience (aesthetics)
Publicado em: 2006
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11. Globo Repórter:: Um encontro entre cineastas e a televisão
The purpose of this research is to identify the specific characteristics of the documentary and its narrative on the Brazilian television in the 70s and 80s when the sound and image recording changed from pellicle to video. For that purpose, this research takes as a reference the Brazilian programme Globo Repórter, the only programme of the country that was
Publicado em: 2005
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12. Precisamos ter um cinema nacional? a retomada do cinema brasileiro 1993-2003
The subject of the present dissertation is the Return of Brazilian national cinema, since the creation of the Audiovisual Bill, in 1993, up to the creation of ANCINE in 2003. Two questions guided this research: do we need to have national cinema? What kind of cinema do we find desirable? Both questions require reflecting over three aspects, which constitute
Publicado em: 2005