Gamearte e o caminho da espada

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Português para todos: conteúdo educativo e interativo para a televisão universitária UNESP

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

Tecnologia digital móvel e educação: envolvendo jovens na discussão sobre o ECA

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

A profissionalização docente: identidade e crise

Pós-graduação em Educação Escolar - FCLAR

Análise de Blindness como uma adaptação cinematográfica de Ensaio sobre a cegueira de José Saramago

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

O perfil da sexualidade em homens com lesão medular

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

Tolerância

The screenplay for the short film Tolerance is a project whose goal is to generate discussion about intolerance, which falls on the minority cultures in contemporary society. Even preserving their Brazilianness, through the art direction, it can cross borders as it does not have dialogues, and addresses current realities that underlie different cultures, even the most liberal and democratic. This project can achieve the interests of various groups, making it an excellent tool for generating discussion and debate in all social and educational levels

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

Gamificação: modelagem de conteúdos para programas e aplicativos educativos no ambiente da TV digital interativa

With the deployment of Digital TV in Brazil, there is a need to foment the development and production of interactive audiovisual quality content, especially for programs that present educational messages from the entertainment concept - defined as Edutertainment. The objective of this study is to propose application of the gamification as a link of communication to encourage and modify user behavior, through a narrative that encourages intrinsic motivation for learning and entertainment in this media. This paper points out that there are few models of screenplays for applications production, particularly educational, with simultaneous interactive applications for television flow or complementary programming content offered. For this reason, a special attention is given to the screenplay, by virtue of inserting in its construction, the elements that make up the mechanics and dynamics of games. As a result, is shown the entry "Gamification-iDTV", which defines these two scenarios, as well as the development of a modeling methodology of a content and process, supported by conceptual maps, wireframes and roadmaps, substantiating the conception and elaboration of screenplay's prototype with elements of gamification for educational programs and its interaction applications.