O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano

This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reveal the film‟s connections with the Bunraku. The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film. By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and also the cinema of Kitano. These connections allow to the understanding of how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: the cinematic language and its particular set of codes and conventions

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

Campo e contracampo : o encontro com o outro no filme Lavoura Arcaica

This dissertation aims to comprehend how we meet with the other at cinema. For this, it receives the doubt, the uncertainty, the way that the human being is unfinished as stance of observation. It takes into consideration the multiples social vectors, historical, subjective, temporal and cultural which constitute these phenomena. The cinema is used as a cognitive resource in order to incorporate the poetic and the imaginary, making possible not forgetting gestures and knowledge that hatch from sounds, colours, remembrances, images, words, social exchanges, cognitive reciprocity that allow us to think about the culture, the society and the communication. For this, it has as theoretical prerequisites ideas of double (myselfthe other) and effective participation (projection-identification) developed by Edgar Morin, as well as the idea of communication as possibility/impossibility of constructions of bonds with the other through the body, our primary media, concepts developed by Harry Pross and Norval Baitello Jr. The chosen film to analysis is Lavoura Arcaica, it is an emblematic movie in the discussion of the human condition and in the relationship between the man and its body, its desires, with its nature/culture ambivalence. About this film are made reflections about the process of activation of the double (myself-the other) in the searching for the other through cinematographically elements of construction, as: montage, direction, screenplay, actors, scenography, costumes and soundtrack. In conclusion, the cinema, when it allows the effective participation and provides t e experiment of the double, becomes a gateway line in the path to development of the alterity

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

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Reinvenção da cidade, produção fílmica e visibilidade sociocultural: o uso do território na roliúde nordestina - Cabaceiras - PB

Conselho Nacional de Desenvolvimento Científico e Tecnológico

Educar para a vida: uma pedagogia da resiliência na escola

Cet étude et thème de dissertation est devenue nécessaire a partir des inquiétudes d éducateur et des pratiques pédagogiques développées aux classes d éducation physique au tour nocturne à l École Municipale Prof. Veríssimo de Melo, dont les élèves sont des jeunes et adultes que habitent au quartier Felipe Camarão. Ces jeunes cohabitent avec le stigmate de la violence que est toujours présente dans cette communauté, située a la région ouest de Natal. On peut trouvé parmi les élèves y matriculés des trajectoires de vie interrompues par facteurs de risque comme criminalité, des adolescentes enceintes et drogues. Ces faits interférent directement avec les procès d intégration sociale et augmentent la violence, reproduisant les cycles de pauvreté et ainsi, limitant les possibilités d ascension sociale. Les résultats des procédées pédagogiques utilisées pendant les classes ont montré la nécessité d approfondir cet étude problématisant cette réalité et, incitant par les pratiques corporelles et discussion, la réflexion sur des thèmes comme facteurs de risque, temporalité, projets de vie et auto-connaissance. En profitant de l intérêt de ces jeunes pour la langage cinématographique comme une façon de mettre en ouvre ces réflexions et rapportant leur connaissance formel avec le savoir et expériences du groupe on a décidé de produire un film court de 15 minutes sur le quartier, idéalisé et produit collectivement. Pour ça, ont a réalisé 10 classes-ateliers avec les élèves qui ont été connus comme « le groupe du cinéma ». Les ateliers pédagogiques qui sont ici, au même temps, référence de recherche et procédée pédagogique, réaffirment la notion de résilience: la capacité de l individu de transformer un obstacle, une adversité ou même une tragédie personnel dans une situation positive ou comme un renfort de ce que nous avons de meilleur. Dans ce sens, cet étude peut aider les professeurs de toutes les matières, que travaillent a l école publique et que se trouvent dans ce contexte, considéré vulnérable, surtout le professeur d éducation physique. Ce travail peut aussi devenir une référence pour aborder des concepts et valeurs que nos aideront à renouveler cette vision de monde étroite et déterministe, responsable pour la reproduction des cycles de pauvreté et violence. Cet étude a été fondée sur des auteurs comme Edgar Morin, Bóris Cyrulnik et Conceição Almeida parmi d autres

DERSU UZALA Hibridação Homem-Natureza

Esta disertación explora de qué forma las hibridaciones entre ser humano y ambientes naturales no urbanos contribuyen a configurar las estrategias de atención, de construcción de conocimiento y de interacción con el mundo del sujeto y cómo, recursivamente, las actitudes perceptivo-cognitivas y las maneras de acercarse a lo real, de imputar sentido a los fenómenos y de interactuar con el ambiente practicadas por el sujeto condicionan y contribuyen a definir las hibridaciones entre humanos y no humanos. Lo que guía esa exploración es el concepto de híbrido que, inspirándome en Bruno Latour (2008), concibo como una asociación entre elementos sin características inherentes, compenetrados, que se redefinen, recrean e reconfiguran recíprocamente. Utilizo como operadores cognitivos una narrativa literaria y una cinematográfica: el libro autobiográfico Dersu Uzala del escritor y explorador ruso Vladimir Klavdievich Arseniev (1872-1930), publicado por primera vez en 1923, y la película homónima del director japonés Akira Kurosawa (1910-1998), lanzada en 1975. Estas obras reconstruyen tres expediciones realizadas por Arseniev a principios del siglo XX en la región siberiana del Ussuri que tuvieron como guía al cazador nómada de etnia gold Dersu Uzala, con quien el escritor construyó una profunda amistad. La elección de hacer dialogar en el mismo plan a dos modos complementares de conocimiento, arte y ciencia, se fundamenta en la concepción de Edgar Morin (2003b) de la literatura y el cine como escuelas de vida y de complejidad humana y en la visión de Claude Lévi- Strauss (2007) del arte como modelo reducido que favorece una mirada más abarcadora sobre los fenómenos. Inicialmente, pongo en relación mi investigación con los trabajos de Silmara Lídia Marton (2008) y Samir Cristino de Souza (2009), que analizaron las estrategias de construcción de conocimiento y de interacción con el mundo de un habitante de la Laguna de Piató (Municipio de Assú, Estado de Rio Grande do Norte, Brasil), Francisco Lucas da Silva, y muestro algunas analogías entre estas y las de Dersu Uzala, ambas productos de determinadas hibridaciones con el ambiente. A continuación, exploro las implicaciones cognitivas de la amistad de Arseniev con el cazador gold, metáfora/encarnación del diálogo posible entre saberes de matrices diferentes. En un tercer momento, dialogando con pensadores que se interrogaron sobre el trinomio hombre-naturaleza-representaciones y con las narrativas de Arseniev (1997) y Kurosawa (1975), reflexiono sobre las ideas de híbrido, de humano y no humano, de vivo y no vivo, de proximidad y distancia del sujeto con respecto a otros sistemas de lectura del mundo, de relación directa y mediada con lo real, de ambientes naturales urbanos y no urbanos. A seguir, incursiono en el libro de Arseniev y en el largometraje de Kurosawa intentando identificar qué factores más contribuyeron para configurar las estrategias de conocimiento y de interacción con el ambiente manifestadas por el explorador y por el cazador gold y, recursivamente, de qué forma esas estrategias contribuyeron a definir sus hibridaciones con el ambiente siberiano. Por último, a partir de las reflexiones tejidas a lo largo del trabajo, me interrogo sobre lo que ellas pueden decirnos sobre nuestra forma de interactuar con la naturaleza no humana y sobre el diálogo entre distintas formas de percibir, conocer y relacionarse con el mundo

Cinema itinerante no Rio Grande do Norte: aspectos da recepção

In itinerant film projects made in Brazil, the unique experience of watching movies on the big screen is held in open spaces, through the establishment of a contemporary ritual, under which the presence of spectators is primordial. Considering this dynamic of the performance of itinerant cinema, the main objective of this research is to analyze the process of reception of the spectators of the sessions of Cine Sesi Cultural, conducted by the Social Service Industry - Sesi, in Rio Grande do Norte state. The body of research was composed by the audience of the movie sessions of the edition developed in 2010. Analyses were made from the look on the specific audience of open sessions of this cinema project throughout a case study. Theoretical authors of Latin American as Jesus Martin-Barbero, Guillermo Orozco, Eliseo Veron and Nestor Garcia Canclini, which have important theoretical basis for the analysis of research on the cinematographic reception of the spectators, were taken as a basis. In this discussion are associated with contributions from Brazilian authors as Roseli Paulino, Fernando Mascarello, Mauro Wilton Souza, Nilda Jacks and Carolina Escostesguy. Besides the reception study, the research focuses on aspects that relate to and explain the circumstances in which itinerant cinema emerges as an alternative exhibition, for example, the context of the exhibition of films in the country, lack of public policies in the audiovisual sector, and mainly the closing of movie theaters in the inner cities of the country and the consequent migration of these rooms to the malls. Seeking to reduce the existing gap in the studies of the reception of spectators to the cinema in the country, this research presents a deeper analysis of the reception of the public of the itinerant cinema as a contribution to an important database for the diagnosis of projects such as the Cine Sesi Cultural