Galeria de espelhos: figuras da representação em François Truffaut

Esta dissertação consiste numa análise de quatro filmes de François Truffaut, nomeadamente La mariée était en noir (1968), La sirène du Mississipi (1969), L’histoire d’Adèle H. (1975) e La chambre verte (1978). O meu estudo centra-se nalgumas figuras pertencentes a sistemas de representação, que ocupam posições de relevo nas narrativas e na imagética destes filmes. Assim, considero o tratamento dado a fotografias, pinturas, desenhos ou esculturas no quadro maior da imagem fílmica, e atento na caracterização de certas personagens enquanto, elas mesmas, propiciadoras de uma reflexão acerca da imagem. Finalmente, procuro repensar o modo como, associando esse trabalho sobre objectos representativos a um pensamento sobre a morte, Truffaut formula uma meditação sobre o cinema enquanto arte intimamente relacionada com a noção de fantasma.

The Conscience of Cinema : The works of Joris Ivens, 1926-1989 /

This book documents the career and work of controversial Dutch documentarist Joris Ivens (1898-1989), his sixty films over seven decades of cinematic commitment. This title was made Open Access by libraries from around the world through Knowledge Unlatched.

Vital Subjects: Race and Biopolitics in Italy, (1860-1920) /

Vital Subjects: Race and Biopolitics in Italy is an interdisciplinary study of how racial and colonial discourses shaped the “making” of Italians as modern political subjects in the years between its administrative unification (1861-1870) and the end of the First World War (1919)

Where Do Flappers Fit In?: The Photography of Modern Fashion in Australia

The visual technique of fashion photography is examined which taught Australian women to look modern. Especially fashion photography intervenes ambivalently into the story of Australian modernism and modernity. During 1920s and 1930s within the fashion press there were synergies and differences between commercial fashion photography, celebrity and cinematic portraiture, and social set endorsement. However, modernism was widely acknowledged in Australia during the 1920s through women's spaces, their fashions and culture of department stores.

Androiden und (Anti)feminismus in The Stepford Wives

Since the early days of cinema the creation of artificial life with its various implications has been a popular topic on screen. Amongst the large number of films that deal with the theme of androids Bryan Forbes’ "The Stepford Wives" (1975) is noticeable for its focus on questions of gender and the relationship between the sexes. The film is set in a contemporary small suburban town where frustrated husbands have found a special way of dealing with their emancipated wives by replacing them with docile life-like robots. Mixing elements of the thriller and horror genres with farce and comedy "The Stepford Wives" was the first American mainstream film to deal explicitly with Women’s Lib. Unlike Ira Levin in his much more ambivalent novel that the film was based on, Forbes and his actors deliberately set out to make a feminist satire, and according to some critics succeeded in producing an important document of second wave feminism which soon acquired cult status. However, it also provoked a number of negative reactions from feminists who were very uncomfortable with a film in which men get away with murdering the female population of an entire town. A closer inspection reveals that the satirical element of the film is indeed not prominent and frequently counteracted, at times facilitating a misogynist rather than a feminist interpretation. This is mainly due to the ending of the film which implies the murderous elimination of the female protagonist. Unlike all other cinematic and literary works that feature androids "The Stepford Wives" shows the successful creation of artificial life which does not backfire. In addition, the film which clearly categorises itself as a thriller and horror movie, and specifically alludes to the tradition of threatened yet strong female characters in these genres, at the same time defies this convention in favour of a seemingly misogynist ending. Thus the way in which "The Stepford Wives" refuses to comply with the traditions of both the android theme and the horror genre, involuntarily serves to undermine its intention as a feminist social satire.

História para "ver" e entender o passado: cinema e livro didático no espaço escolar (2000-2008)

This study aims to diagnose and analyze the use of film in school space, more precisely, in the teaching of history, from the theoretical perspective of the German historian Jörn Rüsen and thus try to observe together with the assumptions of the Didactics of History elements such as public uses that are made for cinema history. In this sense, research propositions movies found in textbooks of history, paths to offer insights about the impacts caused by learning the historical film narrative, this being a learning also occurs in everyday life of students and not just in school space. For both, the textbooks present in Memorial do Programa Nacional do Livro Didático (PNLD), approved in the following editions PNLD/2005 and PNLD/2008 were used. To perform this diagnostic use, in addition to books, the Call Notices and Guides Textbook PNLD as a way to understand how to perform the theoretical and methodological discussions and recommendations about the potential of cinematic narrative for history lessons and these possible approaches to the theory of history.

A MULHER ALÉM DO BEM E DO MAL: Malévola e a representação cinematográfica do feminino integrado

Estudo sobre as construções simbólicas e identitárias da mulher presentes na narrativa e na estrutura das personagens femininas do filme Malévola (2014) – produção dos estúdios Disney (EUA). A narrativa é inspirada no conto de fadas “A Bela Adormecida do Bosque” e distingue-se pela perspectiva feminina, modificando as possibilidades de interpretação, além de possibilitar a quebra do paradigma dicotômico relacionado ao Bem e ao Mal. A pesquisa tem por objetivo estudar a evolução das construções imaginárias da mulher no cinema e traçar paralelos entre as características arquetípicas das personagens de Malévola em relação à identidade da mulher na contemporaneidade. Para tal, será tomado como referencial teórico os estudos do imaginário social, com as obras de Gilbert Durand, Edgar Morin e, em especial, Michel Maffesoli; conceitos da psicanálise a partir dos trabalhos de C.G. Jung, Erich Neumann, Marie-Louise Von Franz e Clarissa Pinkola Estés; as teorias de Stuart Hall, Laura Mulvey e Gilles Lipovetsky relacionadas aos estudos culturais com ênfase em gênero; e também o ecofeminismo através dos trabalhos de autoras como Vandana Shiva e Maria Mies. Nosso referencial teórico-metodológico é a Hermenêutica de Profundidade (HP) visando à interpretação da estrutura simbólica de nosso objeto. Resultam desta pesquisa a verificação de um processo de saturação de padrões identitários e simbólicos provindos da modernidade e a evolução de novas dinâmicas nas narrativas presentes nas mídias e na comunicação.

AS NARRATIVAS VISUAIS E RELIGIOSAS DO VALE DO AMANHECER

O Vale do Amanhecer é um movimento religioso genuinamente brasileiro que surgiu a partir da década de 1960 no Distrito Federal. A pesquisa tem como objetivo investigar a cultura visual religiosa do Vale do Amanhecer como elemento-chave da sua interpretação e construção da sua narrativa religiosa pós-moderna. Parte-se da hipótese de que a sua iconografia enquanto se utiliza elementos da ficção científica representa uma forma nova e rara de se situar na contemporaneidade considerando aspectos da cosmologia do século XX, para construir uma narrativa religiosa adaptada. Como referencial teórico utilizamos a abordagem de Edgar Morin sobre a intersecção de cinema e imaginário, a reflexão de Joseph Campbell como modelo da jornada do herói ou monomito. Como metodologia propõem-se partir da proposta por Gillian Rose para a interpretação da cultura visual. Espera-se evidenciar a importância das narrativas literárias espíritas e cinematográficas de ficção científica na constituição da narrativa pictórica do Vale do Amanhecer e como isso transformou este movimento em um dos principais fenômenos religiosos que assuiram a nova cosmologia

La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : YT Remix (documentaire) ; Sonorisation d'un extrait de L'homme à la caméra (D. Vertov).(https://umontreal.on.worldcat.org/oclc/957316713)

An Amorous Prehistory of Hong Kong Queer Cinema

Depiction of homoerotic relationships among women in commercial costumed films was a unique phenomenon in 1970s - 1980s Hong Kong cinema. What are the possible cinematic meanings of lesbian images that we can perceive in these films? How should we evaluate the exact representation of a sexuality that had been perceived as deviant in that society? In this essay, I close-read homoerotic scenes and trace through the trajectories of cultural and industrial changes enabling the emergence of two representative films: Intimate Confessions of A Chinese Courtesan (1972) and An Amorous Woman of Tang Dynasty (1984). I do this with a continuous concern for historical context in order to provide an in-depth understanding of how lesbian images are constructed in cinema.

La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix

La création cinématographique de l’étudiante qui accompagne ce mémoire sous la forme d’un DVD est disponible à la Médiathèque de la Bibliothèque des lettres et sciences humaines sous le titre : YT Remix (documentaire) ; Sonorisation d'un extrait de L'homme à la caméra (D. Vertov).(http://atrium.umontreal.ca/notice/UM-ALEPH002370775)

Power, Arab media Moguldum & gender rights as entertainment in the Middle East

Discourse is a giant field of research and gender related rights are still a disputed area of thinking. Thus, when Arab transnational satellite televisions produce dialogues, images, stories and narratives about the disputed “universal” gender rights in the Middle East, the big questions remain how and why. According to De Beauvoir (1949), one becomes woman and to Butler (1990) one is not born a gender at all but is “done” and “undone” to become one via discourse. Islamic feminism speaks of a cultural/religious specificity in defending women rights and even gender diversity based on new Quranic interpretations. The gender, “Al-Naw’u”, remains synonym to sex “Al Jins” as gender and queer theories never developed in Arabic in tandem with the European institutions or the theories of the19th century– especially those ideas emerging from studies of the mental asylum. This research tries to understand gender related “rights” and “wrongs” as manifest in the discursive institutions owned by media mogul Prince Al Waleed Ben Talal Al Saud. The trouble of such a study is lexical, ideological and institutional at the same time. Since we lack a critique of the discourses and narratives addressed in the pan-Arab satellite channels, in general it is difficult to understand their significance and influence in everyday life practices. What language is used to speak of gender rights or wrongs? Which ideology is favoured in this practice of legitimisation and/or policing? Using case studies, CDA of social and religious talk shows, narrative analysis of Arabic cinemas, this research adapted triangulation to show the complexity of conversing and narrating gender related content at the micro and macro levels within an institution of power. Using semi-structured interviews from fieldwork in Egypt (2009) and Lebanon (2011), archive research and online ethnography, the research exposes the power structure under which gender discourses evolve. It emerges that gender content is abundant on the Pan Arab satellite space, “manufactured” on talk shows and plotted tactfully in the cinematic “creative-act”. The result is a complex discourse of gender content that scratches the surface calling for interpretation. So how and why do gender rights and wrongs find place on Prince Al Waleed’s Media Empire?

Víctor Erice en la Escuela Oficial de Cinematografía. Elogio de la incomunicación

Aunque Víctor Erice es uno de los directores españoles más estudiados del cine español, sus trabajos en el Instituto de Investigaciones y Experiencias Cinematográficas, que más tarde pasará a llamarse Escuela Oficial de Cinematografía, no se han analizado en profundidad. Salvo su práctica de tercer curso, Los días perdidos, el resto de los cortometrajes y los guiones escritos se han considerado obras menores, piezas sin importancia relevante o directamente títulos extraviados. Sin embargo, estos trabajos se encuentran en buen estado en el archivo de la Escuela Oficial de Cine custodiado por la Filmoteca Española. De Víctor Erice se conservan cuatro cortometrajes y cinco guiones cinematográficos para piezas breves. En este artículo, resumen de una investigación realizada sobre dicho material inédito, se quiere mostrar cómo estas obras presentan un valor en sí mismas y deben ser analizadas como parte importante de la filmografía de este autor. En todos estos trabajos, sin dejar de ser ejercicios de escuela, se muestra la mirada de un cineasta pleno. Así, existen elementos que serán clave en el posterior universo temático y estético de Víctor Erice. Además, el creador aborda como problemática central de sus prácticas el tema de la comunicación humana, o más propiamente el de la incomunicación. En los guiones y los cortometrajes cata­logados de la etapa en la EOC se observa cómo Erice, influenciado en parte por Michelangelo Antonioni, investiga estéticamente el modo de narrar y mostrar los procesos que conducen a la incomunicación y al aislamiento de sus protagonistas.

Organizaciones regionales y diversidad cultural: la diplomacia de la Unión Europea con el Mercosur entre la sombra de Hollywood y la acción intergubernamental

El objetivo de este artículo es doble: por un lado explorar la habilidad de la Unión Europea para llevar a cabo una política audiovisual dirigida al Mercosur y promover las normas de la Convención sobre la diversidad de las expresiones culturales; por otro, analizar el impacto del modelo de política audiovisual de la UE en el desarrollo de la cooperación audiovisual con el Mercosur y centrarse en los principales vectores que configuran el paisaje audiovisual del Mercosur. El texto pretende destacar cómo y por qué la UE persigue una política audiovisual con esa región, cuáles son los propósitos y los límites de actuación. En este sentido, se preocupa por entender cómo la diplomacia audiovisual de la UE interactúa con otros actores, como las acciones gubernamentales llevadas a cabo desde la propia UE y el Mercosur, así como las prácticas del sector privado (Hollywwod y los grandes conglomerados de medios).