Perspectivas para construção do documentário dialógico

This research presents an analysis of the issues and dialogic potential present in documentary filmmaking. We seek to identify the use of the elements of visual language as a way of understanding the production of meaning in the documentary. We analyze the documentary film and its construction in a dialogical perspective. To constitute the corpus of our research we selected three filmmakers and their works (one of each) in order to know their experiences and strategies and actions during the process of producing a documentary. Our reflection is to grant the experiences of the filmmakers , the films chosen for analysis and theories of documentary ( LABAKI , 2005; LINS , 2008 NICHOLS , 2005; PENAFRIA , 2009) , culture (HALL , 2003) , dialogism ( BUBER 2001 , FREIRE , 1987) , communication and mediation ( MARTIN-BARBERO , 1997) and reading documentary ( ODIN 1984)

Cinema e educação :interfaces, conceitos e práticas docentes

This project goes beyond the interfacial field of cinema, History and education. We take as our object the epistemological potential of the cinema at the educational scenario, specifically the use of films integrated to the practices of History teachers and educative processes in which we have taken part as a builder. Our objective is to map, initially, the knowledge around this use to search a synthesis and its empirical application. From the methodological point of view, we have made use of different perspectives: (a) interviews with the educator subjects; (b) observation of their practices and formative circumstances; (c) filmic analysis and the relation of the cinema s epistemology with the other areas ones (initially History and further Journalism). Our analysis allowed us to portrait the film such as an epistemological-troubling category, what makes the cinema rather a builder technology and not simply a complementary and illustrative technological resource. Therefore, we have realized that the restriction to the cinema s educational function is linked to the restrictions to the theoretical categories to an only interfacial aspect: historical film as a film which portraits the past (at the historical field) and film on journalism as a film which approaches a single object of Journalism (at the journalistic field). These discussions happen, consequently, at the arena of the nature of cinema s genres (fiction and documentary), which are understood in a naïve way, simpler than its epistemological possibilities, boosted at this research when we analyze the confluence between fiction and reality. The reflections on educative practices and in formation related to the cinema had occurred in three empirical realities: research with professors in performance, practices docent s and accompaniment of students of history. Have to do with our personal career as a teacher and researcher and, when analyzed other practices, have become, unavoidably, the subject and object of this project

Hemeroteca digital temática: socialização da informação em cinema

MEDEIROS, Rildeci; MELO, Erica S. F.; NASCIMENTO, M. S. Hemeroteca digital temática: socialização da informação em cinema.In:SEMINÁRIO NACIONAL DE BIBLIOTECAS UNIVERSITÁRIAS,15.,2008,São Paulo. Anais eletrônicos... São Paulo:CRUESP,2008. Disponível em: http://www.sbu.unicamp.br/snbu2008/anais/site/pdfs/3018.pdf

O cinema, o jogo e a cultura

práticas artificiais, que incluem a experiência midiática, numa negociação/conciliação permanente entre a cultura objetiva (social) e a subjetiva (do indivíduo). A mediação cotidiana e fundamental é a comunicação do real com o imaginário. Para além do ato ou efeito de mediar, de estar entre, as mediações são a articulação entre práticas de comunicação e movimentos sociais; são as modalidades da comunicação dentro das quais se inserem os meios e que estão ligadas ao sensorium dos modos de percepção e da experiência social. O cinema reflete esse quadro como produto de uma experiência coletiva de fascínio mágico, um lugar de participação afetiva. Comporta elementos do jogo não competitivo e também apresenta elementos do sagrado pela alimentação e divulgação de mitos, pela ritualização convertida em periodicidade e pelo extraordinário evocado em êxtase profano.

A magia do cinema na praça:apropriação do espaço e sociabilidade em Salvador-BA

It s in the city spaces, molded from the uses and daily appropriations, that life is woven, as a product of the social relationships from the accumulation of history along with the present day fabric. Within this relationship, the old and the new are elements which make up this tapestry, as a result of the contribution of successive generations. The public square is seen as an example of this relationship, since it consists of a fertile space for opportunities of urban life coexistence. It is within the trace of these considerations that the present study emerges regarding the appropriation and sociability of the Tomé de Sousa Square, located in the city of Salvador, BA, having as its main focus the special relation between the cinema and the public square, as it relates to the space of the exhibition of cinematographic art. The showing of films in public squares makes possible a distinctive means of appropriation which has occurred ever since the beginning of the cinema. Today in Brazil, projects of this nature abound, which aim at presenting the seventh art to a great portion of the population which doesn t have access to conventional movie theater projection rooms. This particular Projeto Cinema na Praça Cinema in the Square Project carried out in Salvador, has become the empirical reference point for such work. This journey reveals the fascination that this great art has woven through time, attracting and charming multitudes. The cinema touches people in a special way, stirring up affectionate feelings, which are reflected in multiple social practices. Regarding this work, what stands out above all are the projections in the squares, initiatives which make it possible for the films to be watched collectively. What was taken into account in order to carry out this work were the reports of those who came regularly to watch the cinema in the Square sessions, those involved with the cinema projects team, and the film makers. To do the work, besides a bibliographical revision, observations were made of participants in the Tomé de Sousa Square, taken from semi-structured interviews with people involved with the film projection projects and those who came regularly to the cinema in the Square sessions. Also investigations were made in newspapers, printed magazines and the internet, from document and iconographic sources. The photographic documentation proved to be an important contribution to the field work. The research therefore develops from the understanding that the social practices are what make possible the uses of and the appropriation of the spaces. Within this perspective the public square emerges as a privileged locus where possibilities flourish for multiple manifestations that social practices can generate

A dimensão ética do cinema de Walter Salles: hospitalidade, religação e perdão

Soulignant l´importance des transformations du discours politique du cinéma brésilien actuel, cet étude entreprend une analyse de la dimension éthique du cinéma de Walter Salles. Pour cela, nous avons parti de trois films long-métrages du directeur: Terra Estrangeira, Central do Brasil et Abril Despedaçado. Les films sélectionnés constituent les trois diférents chapitres de cette mémoire de maîtrise, qui s´articulent a des diférentes dimensions de l´éthique - l´hospitalité, la réliaison, et le pardon- et se présentent em format essayistique. Au texte, ces dimensions éthiques émergent à partir des récits, surtout des expériences existencielles des protagonistes et de ses singulières rencontres avec l´altérité. Comme tel, dialoguent avec des réflétions d´auteurs comme Edgar Morin, Zigmunt Bauman, Julia Kristeva, Paul Ricoeur et Hannah Arendt. Des diférents régistres de la connaissance -artistique, scientifique, religieuse- s´articulent donc dans le travail, et dialoguent en condition d´égalité. La recherche fait usage de matériels multiples qui incluent, au-delà des films mentionnés, et de ses respectifs scripts, des références à d´autres long-métrages et documentaires du directeur, ainsi que, des makingoffs, entretiens, et interprétations de commentaristes comme Lucia Nagib, Luiz Zanin Oricchio, Ivana Bentes, Pedro Butcher e Jurandir Freire Costa

A noção de acontecimento na experiência do DOCTV RN IV Sangue do Barro

This 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

Luz e sombra: uma interpretação de suas significações imaginárias nas imagens do cinema expressionista alemão e do cinema noir americano

The present investigation proposes an approach of light and shadow and their imaginary significations in the images of both German expressionist movie and the American noir movie, whose aesthetic experience is expressed through a contrasting bright/dark photography, loaded with symbolism. The interpretation of the imaginary significations of this imagistic material is based on Gilbert Durand´s imaginary anthropological theories that deal with a myriad of symbols gathered according to their semantic isomorphism and linked to more general structures named as Daily and nightly Image Regime . There come to gravitate, around such regimes, symbols attached to division and purification, ascensional and spectacular, with imaginary significations homological to Light and Good, and symbols associated to night, fall and animalism, isomorphic of Shadow and Evil

Gênero ou sexualidade?: (re) produção das identidades homoeróticas masculinas no cinema de massa

Homosexuality has been gaining strength in Cinema from the late twentieth century, when there is a dissemination of freedoms around the peripheral or marginal sexualities. Based on this assumption, it was formulated in the dissertation work, an analysis of the relationship between Cinema and Sexuality in order to understand, describe, reflect and analyze possible changes around the performative behaviors of male homosexual from the introduction of them in film production, arising from the mass culture industry. These productions are located in three different decades. In this case, the Cinema has not only the reproductive character of realities, but also a producing agent and consolidating them. The methodology applied was discourse analysis of three film works, namely La Cage aux Folles (1978), In & Out (1997) and Boat Trip (2002). The image, research object of this work, is developed by a mass culture that will produce mass identities which is characterized by crystallization of clichés around the gay world

Escrever o movimento: o cinema itinerante como reinvenção de uma estética do viver

La tesis parte del presupuesto que el cine ofrece la imensa capacidad de entretejer de forma compleja realidad e imaginación. Con eso sugerimos que tal cual una "escuela de vida", según la definición de Edgar Morin (2003), el cine, por medio de sus producciones y exibiciones, pude ser capaz de operar un movimiento de reinvención de una estética del vivir en el espacio de lo improbable. De ahi surge la pregunta: ¿Cómo un fenómeno artístico, estético e imagético puede realizar tal movimiento? Tomando como referencia el guión de vida del personaje de la vida real José Isaias de Lucena Filho, más conocido por Zezeco, encontramos pistas de esa reinvención. Residente de una pequeña ciudad del interior de la província de Rio Grande do Norte, llamada Ouro Branco, en la década del 1960, se desplazó hacia el centro-sur de Brasil y retornó a su lugar de partida con la idea de trabajar proyectando peliculas. De manera singular y plural, este sujeto asumió el riesgo y la incertidumbre de enfrentar determinismos sociales, climáticos y culturales para proponer nuevas simbolizaciones por medio del cine itinerante. La presencia del séptimo arte en pequeñas ciudades de hábitos rurales marcadas por la miséria, el hambre, la negligéncia, el coronelismo político y los problemas climáticos, alteró escenários, actualizó mitos y proporcionó nuevas interacciones entre los sujetos. Zezeco entró en las cifras del éxodo rural y emigró hacia Rio de Janeiro, pero su éxodo fue cinematográfico, porque le sirvió como base para la inserción de efectos especiales fantásticos y poéticos en guiones de vidas inmersas en lo trivial y lo contingente. Tal cual un cinematógrafo vivo, capturó el escenário cultural efervescente de Rio de Janeiro y lo proyectó en la pequeña ciudad de Ouro Branco y en otras ciudades del interior de las províncias de Rio Grande do Norte y Paraiba. Con ello le atribuyó un nuevo uso a la vida de su lugar de partida y de retorno. Actuó en la ambiguedad, la ambivalencia y la complejidad entre el sapiens e el demens; real e imaginario; prosa y poesia de la vida; razón y pasión; racional y simbólico; lógico y mítico. El alcance de la investigación contempla entrevistas, memória, registros manuscritos y fotografías de colección particular de habitantes de la ciudad de Ouro Branco-RN. Como referenciales teóricos principales, tenemos las obras de Edgar Morin sobre el cine y de otros autores como Giorgio Agamben y Maria da Conceição de Almeida que expanden la comprensión sobre el entreejido de realidad e imaginación, vida e ideas

Bricolagem e magia das imagens em movimento: o cinema de Moustapha Alassane

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Ensino de matemática pelo rádio (1950 1970): uma história falada e um documentário didático

This study aimed to describe and analyze aspects of the historical course of teaching Mathematics by Radio Experiences in Rio Grande do Norte, between the decades from 1950 to 1970 in order to organize a documentary (CD-ROM) containing information about Mathematics studied by Radio who have experienced it. In this, we use qualitative research. We seek support in the theoretical framework of cultural history and memory researchers as Certeau (1998), Chartier (1990), Le Goff (2008), Thompson (2002) and Peter Burke (2004). Moreover, we take the elements of oral history. We focus on the teaching of literacy and the primary of the Radio schools in two rural communities - Logradouro and Catolé - who are currently part of the city of Lagoa Salgada (RN) and, with respect to the Junior High School, we stopped in the Course of Madureza at Radio. We used as written sources, especially the documents found in the General Archives of the Archdiocese of Natal (RN) and the employees assigned by the participants of the survey. Our sources come from the oral testimonies of pupils and monitors Lagoa Salgada City, teachers, broadcasters and technicians of Rural Support Service (SAR) Natal (RN). In this study, we identify the geometry Cubação social practices of Lagoa Salgada students. Also identified in the research material, the Global Method with the pedagogy of Paulo Freire, that guided the production of lessons in literacy and primary courses. Content in Mathematics, we find traces of the trend-Empirical activist. In the course of Madureza, there was a tendency formal technique Fiorentini (1995). Finally, as a result of this study, organize and present a documentary (CD-ROM), along with the analysis of this study, containing the history of Mathematics teaching by Radio, from the speech of those who experienced Radio, emphasizing the methodology teaching developed in class, that serves as a reference material for students, professors and researchers.

A interculturalidade no cinema: um estudo da legendagem e da dublagem brasileiras em um filme francês contemporâneo

In this research we present a study of cultural aspects in dubbed and subtitled films. As a case study, we chose to compare the original French version of "Le fabuleux destin d'Amelie Poulain" with both the subtitled and the dubbed versions in Portuguese, with focus on the interaction between the French and the Brazilian cultures. First we considered that (i) the translation process interferes on the perception of cultural relationships; and that (ii) dubbing and subtitling are two methods of translation that result in distinct perceptions from the spectator. Then, we adopted the translation interpretative theory (Seleskovicth; Lederer, 2001; Deslile, 1980) as the general theoretical framework, since it emphasizes the extralinguistic equivalence on the translation process. Furthermore, we based this research on three analytical procedures, which are: the four-step translating operation, the contrastive perception and a translation's typology based on Vinay and Dalbernet's linguistic procedures (Srpová, 1991, 1995, 2004). We extracted forty-six culture-related elements from the film and identified those belonging to the French ethno-universe. Then, the elements were classified with respect to a theoretical typology, based on concepts found in the Ethnography of Communication and a general typology, based on five general thematic groups, defined by the corpus. The results showed that both Brazilian versions tend to preserve those culture-related elements by using lexical loan and literal translation. The visual context, in its association with the linguistic procedures in both Brazilian versions, was also observed as an important element to the comprehension of the culture-related elements as they are considered in the French culture. As a general observation, the perception of culture-related elements in the film seems effectively be oriented by the translation methods

O futuro do presente: a mídia audiovisual e a sociedade contemporânea na ficção científica do cinema de animação

This research presents a study that seeks to analyze the images of the future in science fiction movies, specifically those made through animation techniques, exploring particularly the representation of audiovisual communication medias in its dialogue with the approached societies in the movies chosen to be analyzed. The proposed discussion seeks approximations in order to answer to the question that initiated this research: how are we thinking the future nowadays? It also seeks to, according to Morin (1997), comprehend aspects of the contemporary society by using the cinema, and at the same time, to understand the cinema, aided by a social analysis

A mídia dos outros somos nós: a experiência audiovisual do Ponto de Cultura Cinema para Todos

This research aims to identify the process of appropriation of audio visual (in digital video) for collective symbolic production (participatory video practice that expresses popular culture) in a socio-cultural context where the minorities are. Therefore, we based this study on the students‟ experience of the film and video workshops held by Cinema para Todos (Culture Point Cine for All), in Natal, RN. Culture Point is the basis of the project Programa Nacional de Cultura, Educação e Cidadania Cultura Viva (National Program of Culture, Education and Citizenship - Living Culture) of the Brazilian Ministry of Culture. In 2010, the Cine for All developed three film and video workshops in the state of Rio Grande do Norte (Northeastern of Brazil), in the municipalities of Açu, Lajes and São Gonçalo do Amarante, within a public policy project of socio-cultural inclusion. These three workshops are the focus of this empirical investigation. To support the analysis of this research we consider that the spaces of workshops are sites of the social practices origin, assuming they show the development of the changes of actions that generate new practices. In this socio-cultural context the students as interlocutors process the communicative culture mediation, where come from the logics of action (using digital video) to become a mediatic practice (video auto ethnographic). With the overall goal set and the field of investigative action delimited we considered the methodology of case study suitable for the observation of the object, because it is a phenomenon of modernity, occurring in a context of real life and with little or no control over events. Participant observation and interviews was also applied to this case study. The analytical theoretical support comes from the notion of mediation by Jesús Martín-Barbero and the concept of habitus by Pierre Bourdieu. The research found that a new way of communicating has been developing by this social group, and this reflects the technological change experienced by them. The auto ethnographic videos, short movies, reveal an allegorical trial of the mainstream media, because while they use the mainstream format, they rework the aesthetic, but without revising the history, in fact they proposing to retell the history of themselves full of colorful details and with richness of their forgotten popular culture.