Desenvolvimento de um aplicativo de guia de programação de canais de TV digital

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

Deposição de filmes finos de SnO2 e GaAs, visando confecção de dispositivos baseados na heterojunção SnO2/GaAs

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Maquiagem e a construção de personagens no cinema moderno: estudo do caso Benjamin Button

The o bjective of this dissertation is to present a theoretical essay on the importance of makeup in the creation of characters through the review of The Curious Case of Benjamin Button, a movie directed by David Fincher based on a short-story by F. Scott Fitzgerald. This thesis makes an historica loverview of makeup, including a discussion on its evolution and importance to visual arts, as a background to the analyses of the proposed movie

Retratos da Espanha em Os fantasmas de Goya

1792, Madri. After years of inactivity, the Spanish Inquisition is born again with the mission of containing the laic winds that blow from the revolutionary France. Inês Bilbatúa, a rich merchant’s daugther, is victim of the inquisitorial machinery which tortures and violates her, through one of their abetters, the Dominican monk Lorenzo. Before being arrested, the young lady had served as model for the painter Francisco of Goya, who had also portrayed the monk Lorenzo. The Aragonese painter’s figure serves as narrative conductor of a history that narrates the young Inês’ via crucis and, at the same time, it recreates the historical scenery of the Napoleonic invasion (1808), through a basic element, the painting. Our work intends to analyze the relationships among movie, painting and history present in “Goya’s ghosts” (2006), of the Czech director Milos Forman (1932) - whose script was adapted to a homonymous book in 2007 -, a movie that is based on the artistic production of Francisco of Goya y Lucientes (1746 -1828), official painter of Carlos’ IV (1788 -1808) court and the most lucid columnist of his time, that knew how to capture in his works the religious fanaticism, the populist fervour, the governor’s hypocrisy and the horror and the violence of the war.

Cristo si è fermato a Eboli, de Carlo Levi e Francesco Rosi: memórias da cor de olhos tristes

As a hybrid genre, the narrative of Carlo Levi is an objective account and subjective elaboration that are equalized in a literary form. Written between 1943 and 1944, the book evokes with an atmosphere of memoir the period of 1935 and 1936, the writer’s exile. The film based on the narration fragmentizes the daily life of the problematic region and highlights the truth aimed by the discourses composed in times of crises, reinforced by action and expression without provincialism and also without a compensating aristocratic pose. It is possible to see some incapacity of the film by Rosi, natural to a certain degree, to translate the synthesis of literary treatment and socio-historical reflection. For this reason it is necessary to read the adaptation as an attitude about the literary matter and the result of historical experience. The memoir character relies on the artifice that makes good use of the book’s opening, the author’s short monologue, its narrative frame. The presence of paintings materializes the questions about the absurd contained in them

A identidade feminina em The Magic Toyshop: estudos de gênero no texto e na tela

Besides producing a vast literary work, Angela Carter (1940-1992) participated of the screenplay’s production for two movies based on her books, The Company of Wolves and The Magic Toyshop. Either through the influence that cinema had in her life or through the very own style of her writing, the relation of the British author with the seventh art is visible. Considering the importance of significations in literary works, this paper proposes a comparative study between Angela Carter’s The Magic Toyshop (1967) and the film of the same title, based on Carter’s novel, directed by David Wheatley and produced by Granada Television, in 1987. Based on Tania Carvalhal’s conception about intertextuality and film theories, the focus of this paper is the gender study, since its ideology is subscribed, represented and reproduced in every cultural practice, including literature and cinema. The characters construction in both cases, especially the female characters, is filled with symbols which are going to bring the film closer to the literary work and contribute to express the critics suggested in the work’s leading: the complaint to the patriarchal system. However, given the different nature of each work, it is necessary to stress that this present comparison doesn’t intend to establish a total identification between novel and film, but to set a dialogue between both, observing the approximation and distance of these two instances.

Até os ossos: escavando o último romance de Graciliano Ramos

Starting from the set wherein Vidas Secas (1938) stands out, it is possible to establish parameters that make of Graciliano Ramos’ oeuvre the overcoming of realism due to the scope of representation and the quality of formal handling developed by the author, imbibed in the Brazilian and universal literary tradition, and whose result the criticism of Antonio Candido, skilful in taking into account the former critique, points out with precision. Perusing the facts that mark the creation and reception of Vidas Secas (including the production of the movie by Nelson Pereira dos Santos in 1963), the present work is a preamble for analyses that take into account the coherence of Graciliano Ramos with the absorption of expressive resources used by American and European practitioners of a literature engaged in adjusting the expression of contrasts and in reformulating the so-called regionalism

Gestão da saúde no trabalho: uma experiência institucional

This article aims to disseminate the results of a university action which occurred through the Extension Course entitled Management and Health at Work, conducted from March to September 2011 and offered by “Coordenadoria de Saúde e Segurança do Trabalhador e Sustentabilidade Ambiental” (a kind of Workers' health and safety and environmental sustainability agency) - an agency managed by “Pró-Reitoria de Administração - PRAd/Unesp”. This action had the audience of the technical and administrative staff of the several Institutes (Units) of UNESP in positions of Leadership and Supervision. The course was proposed to equip managers to deal with issues related to health and safety at work in daily labor. Six hundred managers of all UNESP Institutes participated in the course. The meetings were logistically designed respecting the proximity of the participants’ Institutes. The methodology adopted was based on qualitative techniques such as group discussion, role-plays, analysis of film, reading and discussing texts, together with the preparation of a proposal for health promotion by the participants. As a result it was considered that the course offered a convenient and timely opportunity to reflect on and discuss the theme of health and safety at UNESP, as well as to make leaders and managers effective agents to implement programs of disease prevention and health promotion at work.

A crítica de Siegfried Kracauer ao romance-reportagem ou o 'caso Brecht'

This article seeks to historically contextualize Kracauer’s aesthetic-political position regarding this successful literary genre among German writers in the early 1930s: the novel report. It is inevitable the reference to the Berlin journal, Die Linkskurve, and to Lukács’s critiques developed in the period – when he resumes aesthetic questions on the novel as a literary genre in a Marxist interpretation and outlines his thesis on “critical realism”. Kracauer wrote a critique about the film Kuhle Wampe, directed by S. Dudow with a script by B. Brecht and E. Ottwald and music by H. Eisler, which engendered a discussion full of misunderstandings, but extremely interesting, between E. Bloch and Kracauer and between Kracauer and Brecht. Finally, I comment the journal project Krise und Kritik, which failed with the rise of Hitler.

A rainha Margot em duas versões

This paper presents a comparative study concerning the novel The queen Margot (1845), by Alexandre Dumas father, and the homonymous movie (1994), by Patrice Chéreau, mainly considering its historical character, the production conditions of each “discourse” and the personages’ performances in both narratives. The novel has been originally published in the form of feuilleton in the French newspaper La presse, during the years 1844 and 1845, what explains its long extension and the correlation among the chapters. It constitutes a trilogy, the action of which takes place during the religion wars, affording to the text the classification of a traditional historical novel, having the episode of St. Bartholomew carnage as its most striking event. Regarding the movie, which has been awarded five Cesar prizes, two rewards in Cannes Festival and an indication to the Oscar for the best costume design, it also counts with Isabelle Adjani as the protagonist actress. With a few relevant differences regarding the novel, it is remarkable that the action in the movie happens in august 1572 in a Paris that is the center of conflicts among Catholics and Protestants. In this scenery, the comparison between the two artistic manifestations is based strictly on the analysis of the personages’ profiles, the circumstances in which they have been produced and the historical aspects surrounding the two works.

Os rapazes da Rua Panisperna e os centomila Majorana: os fatos e as versões literária e audiovisual

While a certain novel ponders about the traces left by Ettore Majorana and expounds some theories about the fate of the character mysteriously disappeared, a movie by Gianni Amelio also inspirited by facts goes through another path, of the story of Via Panisperna boys, stressing the enigmatic figure of Ettore Majorana and the exciting episodes surrounding some of the greatest physicists of the world. When Leonardo Sciascia publishes the novel in which he uses the actual fact of Ettore Majorana’s disappearance in order to create what he calls a “philosophical novel of mystery”, the public had already probably forgotten the intriguing events of 1938: the young and bright physicist disappeared, by all accounts, voluntarily, without leaving proofs of his death or reliable evidence of his whereabouts. In 1972, Sciascia learns about mysterious clues by means of Erasmo Recami and considers the motives that could have made Majorana leave Italy and later abandon his life almost in the mode fictionalized by Pirandello.

Janelas mais que indiscretas: Hitchcock e Woolrich em confronto

Considerado una verdadera lección de cine, ya que es una película que se refiere al propio arte cinematográfica, La ventana indiscreta (Rear Window), dirigida por Alfred Hitchcock en 1954, tuvo como base para el guión de John Michael Hayes el cuento “Tenía que ser un asesinato” (“It had to be murder”, 1942), de Cornell Woolrich. Reconocido como uno de los mayores escritores del género policial noir, Woolrich profesaba la “poética del fracaso, [...] conduciendo gradualmente la angustia de la víctima al centro del cuadro, en contraste con la indiferencia mecánica de una sociedad que no se molestaba con su suerte”. (OLIVA, 2003, p.116- 7). La película tuvo un gran éxito de público y crítica, pero esto no había ocurrido con el cuento, que solo se hizo conocido después de su adaptación para el cine. El propósito de este trabajo es realizar un análisis comparativo entre los dos textos, subrayando los siguientes aspectos: 1) la caracterización del género noir (cuando la investigación ya no es un juego para mentes refinadas, como había sido en la narrativa policial clásica) y del suspense (narrativa de tensión que se caracteriza por el aplazamiento de la resolución del enigma), tanto en la narración literaria como en la película; 2) la autorreferencialidad en la película y en el cuento mediante el uso de la metaficción; 3) el problema de la transposición del foco en primera persona de la narrativa para el cine; 4) los diferentes desenlaces, señalando en qué medida indican visiones del mundo también divergentes.

Ophthalmic parameters in adult Shih Tzu dogs

Ocular surface diseases are often diagnosed in brachycephalic dogs. The ophthalmic parameters of the Shih Tzu dogs are evaluated in this study since this breed is among the most commonly affected by these diseases. In this study, ophthalmic parameters of this breed were partly studied under physical restraint. Schirmer tear test, breakup time test, aesthesiometry, biomicroscopy, non-contact specular microscopy, laser flaremetry, applanation tonometry, ultrasonography and ophthalmoscopy were carried in 48 eyes of 24 male and female dogs, aged from two to four years, weighing between 5 and 10kg. All dogs were from a breeding kennel. Descriptive statistics were applied to the data. Mean and standard error for Schirmer tear test was 26.145±0.803mm min-1; breakup time test, 13.668±0.538s; and aesthesiometry, 2.395±0.071cm. The biomicroscopy evaluation showed that 70.83% of the eyes had medial entropion; 42% caruncular trichiasis; 33% distichiasis, 27% mild paracentral corneal opacity; and 13% corneal melanosis. Mean and standard error for endothelial cell density was 2221.591±20.161cells mm-2; endothelial cell hexagonality, 63.770±1.805%; endothelial cell area, 451.895±4.179mm2; central corneal thickness, 0.490±0.007 mm; laser flaremetry, 1.720±0.216PC ms-1; applanation tonometry, 16.118±0.460mmHg; axial length, 20.255±0.134mm; lens thickness, 6.624±0.031mm; anterior chamber, 4.064±0.109mm; and vitreous chamber, 9.565±0.054mm. Ophthalmoscopy findings were not different from previous reports for other breeds. The results showed that the ophthalmic Shih Tzu parameters did not differ from other breeds according to data in the literature, except for the breakup time and Cochet-Bonnet aesthesiometry.

Tratamento térmico de filmes supercondutores do sistema BSCCO utilizando forno de micro-ondas doméstico

Pós-graduação em Ciência dos Materiais - FEIS

Influência de técnicas de moldagem e de dois vazamentos na precisão dimensional de modelos de gesso e adaptação marginal de infraestruturas CAD/CAM em Y-TZP

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)