23 resultados para Cinema Sonoplastia
Resumo:
The knowledge is only possible due to we exist bodily. However, during the educational experience, the epistemic potency of the body is neglected, declining the registers of the intelligibility. The current thesis approaches that problem obliquely: from a body and image philosophy which has revealed other ways of doing those registers in the modernity understood not as period itself, but as a qualification for the negotiations between the real and the intelligible. The referred ways are explored through Merleau- Pontys and Michel Foucaults works, which offer a spectrum about that new negotiation of the real. In order to approach the studied problem, the visibility and the human body motricity in the cinema are taken as analysis object. The mentioned objects have been analyzed through a corpus of movies of which plots are centered at the formal education and they require from the characters and the spectators engagement into a visual performance. Aiming to approach the object, it is questioned how the Education phenomenon is represented by the cinema; how the body is exposed and how spectators can see it. Analyzing the corpus and articulating Merleau- Pontys and Michel Foucaults theories, it has been possible to state the following thesis: the cinema as an education of the gaze. The general objective of this study is to reveal the educational potency of the filmic experience, which provides a new path of intelligibility for Education. In that sense, the body as a visual operator widens the capacity of understanding the real. The current work is divided in three chapters. The first one brings the methodological approach: it is pointed how the theoretical articulation is properly arranged; it explains the method of using the images as indirect language as part of the reality description; the filmic corpus is presented, as well the criteria for the films choices and for the construction of instrument adopted during the object analysis are described. In the second chapter, it is problematized the incapacity of the western society of formulating the real discursively by debating Merleau-Pontys and Foucaults theoretical contributions about the visual performance displayed on the images while the films are watched and analyzed. In the third chapter, the implications of the education of the gaze provided by the cinema are developed, mainly concerning about the place attributed to the visibility during the formulation of the real. Finally, paths are designed for the construction of another approach for the visibility in Education. Assuming the gaze as an experience of knowledge, this study aims to present other ways of being, seeing, thinking and feeling the world. Therefore, it is a proposal to reset the epistemic and subjectification patterns at the educational context.
Resumo:
This work aims to study about the importance of cinema for cultural and professional training of teachers of Natural Sciences and Mathematics. The educational potential of cinema is emphasizing by different authors, which also reveal the teachers' training gap in this issue (media). In this study, we defend the audiovisual language of cinema as an integrating element of Arts and Science for cultural and professional training of teachers. This subject has been developed by different authors, in which the emphasis has been the importance of intelligent dialogue with the world. Specifically, the training of science teachers and mathematics, by the approach of Cinema in its formation, It envisions the possibility of minimizing the dichotomy between humanistic and scientific training, already much discussed by some researchers. Educational products contribute to an effective experience and reflection on the cultural and educational role of the Seventh Art. Considering the Cinema as a possible "bridge" between the two cultures (scientific culture and humanistic culture) and promoting ownership of audiovisual language in teacher training It was accomplished the I Exhibition - Cultural Spring: Cinema and Science Education in UFRN. The production of the booklet "Topics of History, Language and Art of Cinema for Science and Mathematics Teachers," and its application in a short course in the XXI National Symposium on Physics Teaching also aimed to contribute to the approximation of Science and Art in training teachers.
Resumo:
This dissertation uncovers the path of Pernambucos independent cinema of the Retomada, of its production in the second half of the 1990s until mid 2012 when the sector manages to secure a funding edict (Funcultura) for its films and at the same time establishes a few symbolic mechanisms which contributed to the consolidation of a new cycle, the post-Retomada, namely: cinephilia and brodagem. Because it is a cinematography (pernambucana) outside the Rio-So Paulo axis, that is, outside the great center of the brazillian culture industry, the cinema produced in Pernambuco built a very specific modus operandi, in which a material basis, the consolidation of Funcultura, intercrossed with two symbolic practices feeding on each other, cinephilia and brodagem. In this regard, we seek not to establish the material perspective as the primary determination as opposed to the symbolic one. Futhermore, we followed the path of cinephilia in its direct commucation with the brodagem, and how both these logics pressured authorities to institute an incentive funding separated from other artforms in the state. From this point of view, we attempted to trace the trajectory of this cinematography in its external nuances, but also taking into account the internal nuances of its works of art (films). Following this, we created categories to define and distinguish the nuances of the Retomada and post-Retomada productions regarding ethical and aesthetical choices made by directors from both generations.
Resumo:
This dissertation uncovers the path of Pernambucos independent cinema of the Retomada, of its production in the second half of the 1990s until mid 2012 when the sector manages to secure a funding edict (Funcultura) for its films and at the same time establishes a few symbolic mechanisms which contributed to the consolidation of a new cycle, the post-Retomada, namely: cinephilia and brodagem. Because it is a cinematography (pernambucana) outside the Rio-So Paulo axis, that is, outside the great center of the brazillian culture industry, the cinema produced in Pernambuco built a very specific modus operandi, in which a material basis, the consolidation of Funcultura, intercrossed with two symbolic practices feeding on each other, cinephilia and brodagem. In this regard, we seek not to establish the material perspective as the primary determination as opposed to the symbolic one. Futhermore, we followed the path of cinephilia in its direct commucation with the brodagem, and how both these logics pressured authorities to institute an incentive funding separated from other artforms in the state. From this point of view, we attempted to trace the trajectory of this cinematography in its external nuances, but also taking into account the internal nuances of its works of art (films). Following this, we created categories to define and distinguish the nuances of the Retomada and post-Retomada productions regarding ethical and aesthetical choices made by directors from both generations.
Resumo:
Antonin Artaud (1896-1948) est un pote, acteur, dramaturge et crivain franais n Marseille, mais dont la vie artistique se dveloppe principalement Paris. Artaud est l'auteur de la notion bien connue de Thtre de cruaut, qui inspire encore aujourd'hui de nombreux groupes de thtre dans diffrents coins du monde. Il a crit sur le thtre, la posie, l'art, la philosophie, entre autres. De 1924-1935 est galement ddi au cinma, la fois dans son thorique et pratique. Une tape un peu inconnu et peu explor dans sa vie. Elle a jou dans 22 films avec certains des ralisateurs les plus importants dans le monde, et a laiss huit scnarios, dont un seul a t realiz, et huit crits thoriques sur le cinma. Cette thse cherche examiner prcisment cette priode insuffisamment tudi dans sa carrire, partir de trois questions initiales: Artaud dvelopp un sens de la cruaut au-del du thtre? Nous pouvons penser la culture de la cruaut envers les films, en dautres termes, un cinma de la cruaut ? Nous pouvons penser sur le sujet contemporain de cette culture? La rponse ces trois questions est oui. L'ide de la pense de la cruaut au cinma est intervenue concomitamment leurs expriences et laborations de ce qu'il a appel Thtre de la cruaut. Les deux rflexions sont donns concomitamment et de manire rcursive. Plus que cela, toutes ses productions artistiques, dont la posie et la peinture, ont t traverss par la notion de cruaut. Nous concluons que leurs laborations sur un cinma de la cruaut a et interrompu au moment mme que le dveloppement technique a soulign la possibilit de sa ralisation. De plus, l'enqute de son travail, nous pouvons voir que presque toute sa pense a t prpar sous les images, de sorte que nous pouvons mme parler d'une pense cinmatographique dAntonin Artaud. En consquence, nous ne concevons pas sa thorie au septime art comme secondaire leurs intrts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le dveloppement de ses crits, qui jusqu' maintenant accumul plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. Lart tait l'instrument privilgi de proposer un diagnostic et une nouvelle faon de voir la socit contemporaine. travers le film il a imagin la possibilit d'une reprise de forces thico-esthtique-politiques perdus sous les dcombres de la civilisation occidentale. L'tablissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernit pourrait sauver une puissance esthtique du corps et de la pense que, rinterprt, agiraient envers eux-mmes et le monde rinventer.
Resumo:
Antonin Artaud (1896-1948) est un pote, acteur, dramaturge et crivain franais n Marseille, mais dont la vie artistique se dveloppe principalement Paris. Artaud est l'auteur de la notion bien connue de Thtre de cruaut, qui inspire encore aujourd'hui de nombreux groupes de thtre dans diffrents coins du monde. Il a crit sur le thtre, la posie, l'art, la philosophie, entre autres. De 1924-1935 est galement ddi au cinma, la fois dans son thorique et pratique. Une tape un peu inconnu et peu explor dans sa vie. Elle a jou dans 22 films avec certains des ralisateurs les plus importants dans le monde, et a laiss huit scnarios, dont un seul a t realiz, et huit crits thoriques sur le cinma. Cette thse cherche examiner prcisment cette priode insuffisamment tudi dans sa carrire, partir de trois questions initiales: Artaud dvelopp un sens de la cruaut au-del du thtre? Nous pouvons penser la culture de la cruaut envers les films, en dautres termes, un cinma de la cruaut ? Nous pouvons penser sur le sujet contemporain de cette culture? La rponse ces trois questions est oui. L'ide de la pense de la cruaut au cinma est intervenue concomitamment leurs expriences et laborations de ce qu'il a appel Thtre de la cruaut. Les deux rflexions sont donns concomitamment et de manire rcursive. Plus que cela, toutes ses productions artistiques, dont la posie et la peinture, ont t traverss par la notion de cruaut. Nous concluons que leurs laborations sur un cinma de la cruaut a et interrompu au moment mme que le dveloppement technique a soulign la possibilit de sa ralisation. De plus, l'enqute de son travail, nous pouvons voir que presque toute sa pense a t prpar sous les images, de sorte que nous pouvons mme parler d'une pense cinmatographique dAntonin Artaud. En consquence, nous ne concevons pas sa thorie au septime art comme secondaire leurs intrts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le dveloppement de ses crits, qui jusqu' maintenant accumul plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. Lart tait l'instrument privilgi de proposer un diagnostic et une nouvelle faon de voir la socit contemporaine. travers le film il a imagin la possibilit d'une reprise de forces thico-esthtique-politiques perdus sous les dcombres de la civilisation occidentale. L'tablissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernit pourrait sauver une puissance esthtique du corps et de la pense que, rinterprt, agiraient envers eux-mmes et le monde rinventer.
Resumo:
MEDEIROS, Rildeci; MELO, Erica S. F.; NASCIMENTO, M. S. Hemeroteca digital temtica: socializao da informao em cinema.In:SEMINRIO NACIONAL DE BIBLIOTECAS UNIVERSITRIAS,15.,2008,So Paulo. Anais eletrnicos... So Paulo:CRUESP,2008. Disponvel em: http://www.sbu.unicamp.br/snbu2008/anais/site/pdfs/3018.pdf
Resumo:
prticas artificiais, que incluem a experincia miditica, numa negociao/conciliao permanente entre a cultura objetiva (social) e a subjetiva (do indivduo). A mediao cotidiana e fundamental a comunicao do real com o imaginrio. Para alm do ato ou efeito de mediar, de estar entre, as mediaes so a articulao entre prticas de comunicao e movimentos sociais; so as modalidades da comunicao dentro das quais se inserem os meios e que esto ligadas ao sensorium dos modos de percepo e da experincia social. O cinema reflete esse quadro como produto de uma experincia coletiva de fascnio mgico, um lugar de participao afetiva. Comporta elementos do jogo no competitivo e tambm apresenta elementos do sagrado pela alimentao e divulgao de mitos, pela ritualizao convertida em periodicidade e pelo extraordinrio evocado em xtase profano.
