Sob a vigência da Ancine (2001-2011): trajetória, mecanismos e a ingerência da economia da cultura na cinematografia

Pós-graduação em Ciências Sociais - FCLAR

Análise de instrumentos de avaliação da competência informacional voltados para a educação superior

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

Trans-formações (a) temporais em Il Decameron: de Pasolini a Boccacio

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Três trajetórias e uma mesma estrada

The process of migration of the rural northeast workers toward the cities of the south of Brazil in search of work and better living conditions reached millions of individuals and constituted the basis of our industrialization and modernization, especially since the 1930s. The Cinema has not ignored this vast phenomenon and, as much as the literature put the question in debate, particularly since 1960, when our seventh art was assumed as part of the national intelligence. In this article, we observed three narratives that thematize the escape from rural to urban from the northeastern hinterland: Vidas Secas (1963), by Nelson Pereira dos Santos, Trópicos (BR / ITA, 1967), by Gianni Amico, and O Caminho das Nuvens (2003), by Vicente Amorim. Participants of the politicized cinema, Vidas Secas and Trópicos draw the political impasses of the period in the form of movies and in the aesthetic choices, trying to understand the role of these migrants in Brazilian life. Already in O Caminho das Núvens, performed four decades later, the narrative is assumed as part of the cinema of entertainment, thinking the process of migration as a choice, as stated the form of this artwork of the called cinema of the resumption.

Habilidades informacionais abordadas em instrumentos de avaliação de Competência Informacional

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

Habilidades informacionais abordadas em instrumentos de avaliação de CI

Internationally there are validated instruments that are used on a large scale to verify the information literacy of individuals in different contexts. Their results serve as a diagnostic for the planning and implementation of information literacy activities. In Brazil there is no validated assessment tools of information literacy. An analysis of contents of four international instruments attached to the upper level educational institutions duly recognized in the literature of the field and validated. The results will be presented related to information literacy addressed in these instruments. It was found that the instruments analyzed the skills focused on the identification of terms of the informational needs, the preparation and construction of search strategies available in parameter two of the Association of College and Research Libraries; differentiation of information sources (parameter one); evaluation and selection of informational sources and selection of the theme searched information (parameter three); and, finally, the abilities of the ethical issue related to use of the information (parameter five). The parameter four, which is facing the communication of information, was not addressed by the instruments. It was concluded that there is a concern of those responsible for preparing the instruments covered with more traditional technical aspects of training users and aspects of information literacy at the expense of ethical and aesthetic aspects.

The independence of adaptations: the metanarrativity and metafictionality of Ian McEwan´s Atonement adapted for the cinema

Conceiving of cinematographic adaptations as being independent of their source material has come to be the standard approach for most specialists in this area. The stress on fidelity has made way for many other approaches, such as those focused on intertextuality, on the dilemma of form v. content, or on questions of genre and gender. The objective of this article is to present an overview of the principal theories which have been developed in the area as from 2000 in order to support this notion of independence, which will be exemplified by an exposition of the strategies used to adapt the metafictional and metanarrative elements in Atonement (2001) for the cinema.