Memória e experiência no cinema de Wim Wenders - evidências de um diálogo com a filosofia de Walter Benjamin : cenas para uma educação dos sentidos

Esta dissertação apresenta o resultado de uma pesquisa, de cunho teórico, cujo escopo é apreender, na obra fílmica de Wim Wenders, o percurso estético narrativo que esse cineasta faz, tendo como eixo central de discussão o conceito de memória e experiência. As perguntas que norteiam a pesquisa são: de que forma a estética fílmica dos filmes de Wenders elabora a memória e como esta está vinculada à ideia de experiência? De que forma o fazer fílmico desse cineasta pode ser uma referência e estímulo para o âmbito da educação, em especial para a formação dos sentidos? A pesquisa propõe uma tríade dialógica entre cinema, filosofia e educação. Para tanto, traça um panorama sobre a estética de alguns filmes de Wenders em diálogo com a filosofia ensaística de Walter Benjamin. O principal objeto de análise é o filme Alice nas cidades (WENDERS, 1973). Com isso, pretende-se estabelecer um diálogo e traçar um paralelo (relação) entre os conceitos de experiência e memória, presentes na estética fílmica de Wenders, e o conceito de memória e experiência tal como apresentada em alguns ensaios benjaminianos. A hipótese principal considera que a memória coletiva e a experiência fazem par e caminham com a história da educação, e são elementos fundamentais para a formação dos sentidos. A compreensão desses dois conceitos, a partir de uma perspectiva crítica, pode ensejar uma experiência e formação estética que produzem as condições de possibilidade para a contraposição à barbárie que conduz à pobreza da experiência, também entendida como regressão dos sentidos. A segunda hipótese é de que o conceito de memória e experiência no cinema de Wim Wenders expressa uma estética comprometida na construção de uma expressão artística que dirige a atenção à ressurgência do passado no presente, isto é, evidências da experiência e da memória na linguagem cinematográfica. O esforço da pesquisa pode ser resumido na tentativa de um exercício de análise e discussão teórica em torno da relação entre educação e cinema. Para tanto, apontam-se, por meio da obra cinematográfica de Wenders, evidências de aproximação com o pensamento de Benjamin, em especial com relação aos conceitos de memória e experiência, tal como se apresenta no percurso criativo do cineasta. Tais conceitos contribuem, por meio da obra de Wenders, em diálogo com a filosofia de Benjamin, para produzirem um contraponto à educação estética na formação do professor.

PERFORMANCE CAPTURE: À PROCURA DAS MELHORES TÉCNICAS E ESTÉTICAS NO CONTEXTO DA ANIMAÇÃO DIGITAL

This paper investigates realism in character computer animation, which triggered the development of new techniques and aesthetic in spectacular cinema and contemporary culture. With the advent of motion or performing capture, animation has made possible that virtual characters or digital creatures reach higher levels in emotional acting, taking place in virtual cinematic worlds or even special effects movies. This technology, when placed at the service of imagination and fantasy can provide new dimensions in character motion and communication. In this context, projects like Peter Jackson’s (2001) The Lord of the Rings, James Cameron’s Avatar (2009) and more recently Steven Spielberg’s Tintin (2011) demonstrate that motion technology is constantly evolving, and it represents a credible option to explore new techniques and aesthetic in contemporary animation.

A atmosfera fílmica como consciência

The concept of "cinematic atmosphere" is complex because its analysis raises the problem of the cinematographic formal construction as inductive medium of the film atmosphere. Moreover, the proper notion of "atmosphere" reveals other concepts more or less controlled by the cinematic elements that will have all the same goal: the recognition of these concepts through the manifestation of the atmosphere.

Os (in)sofismáveis caminhos do storytelling : Woody Allen e o documentário ficcionado

ABSTRACT: Between pure documentary and pure fiction there are, more and more, a reasonable number of cinematic alternatives that convey a dimension of non-reality. Between the pointedly factual discourse and the irrational belief in an entirely narrative world, there intervenes an informed conviction in a truthful but nonexistent universe, in which the formal enunciation sells an image of objectivity. In a path that leads us from the forms and contents of reflexive and performative documentaries, according to Bill Nichols, and ends up in fake documentary itself, we will have the opportunity to stress the filmic construction and its inherent narrative purpose, be it a fictional story or the creator himself as character (others would say subject) of the cinematic construct. In a boomerang kind of logic, the more the objects direct us to a referent, the more they restore us a creative/authorial reference and, along with it, the narrative idea that instills it. In Woody Allen’s case, this storytelling manifests itself in the fake documentary genre, which works as if it is the reality, only to better manifest the sole reality that interests the director: that of the metacinema, or the cinema as self-referencial reality. The practical examples will be derived from the following films: Take the Money and Run (1969) e Husbands and Wives (1992).

O metacinema norte-americano e o storytelling : de Orson Welles a David Lynch

ABSTRACT: The American metacinema which, by tradition, is narrative but extremely formulaic favours the story above the telling. No man contributed more to alter this state of affairs than Orson Welles, whose cinematic practice exalted the filmic enunciation and linked it more explicitly to the narrative intentions of the creator, making it obvious that metanarrative is synonymous with metacinema. With Citizen Kane (1941), in particular, the cinema was made more disnarrative, as meant by French writer/director Alain Robbe–Grillet, well ahead of Modernism. The fragmented narration, the temporal convolutions, a tendency for paradox and the interpretative obstacles all come together to anticipate the serial practice of David Lynch in his last four features. Structuring the films in segments which constitute different but complementary versions of the same events, Lynch manages to express the director’s enunciation along with the narration of the characters, reinforcing the role of the telling in the midst of the story. In INLAND EMPIRE (2006) the use of mise-en-abyme as a way of duplicating stories and tellers further increases the objective and complicates what is clearly the reign of the puzzle or mind-game film. In the footsteps of Welles, Lynch contributed for an outbreak of metanarrative / metacinematic crossover indie films closer to the European aesthetic practice but still very much within the American narrative tradition.

A loucura e o cinema: representações cinematográficas de personalidade limite

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

Twin Peaks como alegoria daimónica cinematográfica

For a long time the allegorical activity was considered dogmatic and equated with artistic fossilization, archaic religious propensity and lack of creativity. However, Walter Benjamin (1928) and Paul De Man (1969), among other illustrious thinkers, came to its defense, exalting, instead, its cryptic, hybrid and abstract nature, which, incidentally, are the main characteristics of modern art. “Twin Peaks – Fire Walk with Me” (David Lynch, 1992) is a wonderful object of analysis, despite being one of the most misunderstood films in the history of cinema. The fact that its narrative is a prequel to the cult television series “Twin Peaks” and incorporates many of the characters of that show, explicitly denigrating the moral image of the protagonist, Laura Palmer, brought about an intense rejection by the fans of the series, as well as the indifference of the cinephilic community in general. However, one must go deeper, in order to understand Lynch’s brave accomplishment and its artfulness. Indeed, the opus is a powerful cinematic allegory because it contains a double layer of metaphorical meaning, one of them being explicitly metacinematic. Thus, besides assuming itself as a filmic daimonic allegory, occurring in a spiritual universe of Good versus Evil, the film is also an authorial discourse on cinema itself. More specifically, it is an allegory of spectatorship, according to Robert Stam’s definition, where the existence and crossing over to “another side” duplicates the architecture of movie theatres and the psychic processes involved in film viewing.

O cinema como ferramenta andragógica para a terceira idade: o Projeto CINAGE

The demographics of the early 21st century in Europe point to a notorious ageing of the population of most countries. Consequently, elderly people tend to be considered a social burden for the national healthcare and social security systems and their desire to participate actively in the civic and cultural activities of their countries is ignored. The first response to demographic ageing should therefore be a change in mentalities, which is what the area of gerontology is all about. It was in this context that the European Project CINAGE - European Cinema for Active Ageing was created. It is a transnational project, promoted by Portugal, and partnered by UK, Italy and Slovenia, oriented for the creation of a cinema course for elders and directly supported by filmic tools, within an andragogical self-reflexive approach. The modules of this course will be created on the basis of European cinematic examples and the input of focus groups consisting of experts in andragogy, active ageing, cinema and elders. In the end, twelve short films will be produced by senior members of the CINAGE course. We aim to present the project CINAGE in all its characteristics and thus reveal a way in which cinema can positively contribute to a more active ageing and the maintenance of mental health in later stages of life. It is relevant to consider what films Europe has been lately producing on this subject. We will use some of them to explain and corroborate our point of view and the project itself.

O auteur a ver-se a si mesmo ao espelho: as alegorias do enunciador em Jean Cocteau

ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.

A figuração do rosto em cinema: análise de «Trás-os-Montes» e «Uma Vida Humilde»: dissertação

Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Desenvolvimento de Projecto Cinematográfico - especialização em Dramaturgia e Realização

Wuthering heights on the screen: exploring the relations between film adaptation and subtitling

This essay aims to confront the literary text Wuthering Heights by Emily Brontë with five of its screen adaptations and Portuguese subtitles. Owing to the scope of the study, it will necessarily afford merely a bird‘s eye view of the issues and serve as a starting point for further research. Accordingly, the following questions are used as guidelines: What transformations occur in the process of adapting the original text to the screen? Do subtitles update the film dialogues to the target audience‘s cultural and linguistic context? Are subtitles influenced more by oral speech than by written literary discourse? Shouldn‘t subtitles in fact reflect the poetic function prevalent in screen adaptations of literary texts? Rather than attempt to answer these questions, we focus on the objects as phenomena. Our interdisciplinary undertaking clearly involves a semio-pragmatic stance, at this stage trying to avoid theoretical backdrops that may affect our apprehension of the objects as to their qualities, singularities, and conventional traits, based on Lucia Santaella‘s interpretation of Charles S. Peirce‘s phaneroscopy. From an empirical standpoint, we gather features and describe peculiarities, under the presumption that there are substrata in subtitling that point or should point to the literary source text, albeit through the mediation of a film script and a particular cinematic style. Therefore, we consider how the subtitling process may be influenced by the literary intertext, the idiosyncrasies of a particular film adaptation, as well as the socio-cultural context of the subtitler and target audience. First, we isolate one of the novel‘s most poignant scenes – ‗I am Heathcliff‘ – taking into account its symbolic play and significance in relation to character and plot construction. Secondly, we study American, English, French, and Mexican adaptations of the excerpt into film in terms of intersemiotic transformations. Then we analyze differences between the film dialogues and their Portuguese subtitles.

Derek Jarman’s allegories of spectacle: inter-artistic embodiment

ABSTRACT - Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two european historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.

Manobras de condução assistida para veículos submarinos subactuados

A intervenção humana no manuseamento de veículos submarinos operados remotamente (ROVs) é um requisito necessário para garantir o sucesso da missão e a integridade do equipamento. Contudo, a sua teleoperação não é fácil, pelo que a condução assistida destes veículos torna-se relevante. Esta dissertação propõe uma solução para este problema para ROVs de 3DOF (surge, heave e yaw). São propostas duas abordagens distintas – numa primeira propõe-se um sistema de controlo Image Based Visual Servoing (IBVS) tendo em vista a utilização exclusiva de uma câmara (sensor existente neste tipo de sistemas) por forma a melhorar significativamente a teleoperação de um pequeno ROV; na segunda, propõe-se um sistema de controlo cinemático para o plano horizontal do veículo e um algoritmo de uma manobra capaz de dotar o ROV de movimento lateral através de uma trajectória dente-de-serra. Demonstrou-se em cenários de operação real que o sistema proposto na primeira abordagem permite ao operador de um ROV com 3DOF executar tarefas de alguma complexidade (estabilização) apenas através de comandos de alto nível, melhorando assim drasticamente a teleoperação e qualidade de inspecção do veículo em questão. Foi também desenvolvido um simulador do ROV em MATLAB para validação e avaliação das manobras, onde o sistema proposto na segunda abordagem foi validado com sucesso.

O biofeedback cinemático na realização de exercícios escápulo-torácicos

RESUMO: O Biofeedback cinemático na realização de exercícios escápulo-torácicos Patrícia Ribeiro; Ricardo Matias Desenho do estudo: Estudo quantitativo, experimental, prospetivo de fator único. Objetivos: Determinar a efetividade do biofeedback cinemático tridimensional (3D) em tempo real, como informação de retorno extrínseca, no reconhecimento da zona neutra da omoplata, em indivíduos saudáveis; medir o desempenho temporal, através do tempo que os sujeitos demoram a atingir a posição pretendida, e o desempenho no percurso, através da diferença entre o percurso efetuado e aquele que seria o percurso mais curto, sem Informação de Retorno Extrínseca (IRE), com Informação de Retorno Extrínseca clinica verbal e palpatória (IRE-VP) e com informação de retorno extrínseca visual cinemática (IRE-VC). Enquadramento: Reconhecer aquela que deve ser a posição adequada da omoplata e tomar consciência da importância dessa posição para a estabilidade e correto funcionamento da articulação gleno-umeral é uma tarefa difícil, pois a grande maioria do indivíduos não têm os conhecimentos necessários. É reconhecido o contributo que a IRE tem na reaprendizagem motora, em especial na primeira fase da aprendizagem motora – a consciencialização. Vários estudos se têm debruçado em avaliar a influencia da IRE na reabilitação de indivíduos com disfunção do ombro, tendo-se limitado ao formato electromiográfico. No sentido de encontrar novas estratégias para facilitar o processo de reaprendizagem motora nestes indivíduos, foi escolhido biofeedback cinemático tridimensional. Métodos: Participaram no estudo 60 sujeitos, sem queixas de dor no ombro, com idades compreendidas entre os 18 e os 54 anos, com um valor médio de 21,66 anos (±5.89), divididos aleatoriamente em três grupos com uma tarefa comum: o reconhecimento da zona neutra da omoplata. Um grupo não recebeu qualquer tipo de IRE - Grupo Controlo (GC), outro grupo recebeu IRE-VP e outro recebeu IRE-VC. Para efeitos de análise da performance foram consideradas duas variáveis: tempo e qualidade da execução. A abordagem estatística destas variáveis consistiu numa análise de variância simples e num teste de comparações múltiplas. Resultados: Observámos que o grupo controlo e o grupo IRE-VC efetuaram a tarefa pedida em menos tempo que o grupo IRE-VP (p<0.01) e que o grupo IRE-VC obteve melhores resultados no que respeita à qualidade da execução da tarefa do que o GC e o grupo IRE-VP (p<0.01). Conclusão: Pelos resultados obtidos, na tarefa de reconhecimento da zona neutra da omoplata, podemos concluir que o biofeedback cinemático é mais efetivo na facilitação da obtenção de melhor qualidade de execução da tarefa do que o feedback clinico ou a inexistência de feedback e igualmente efetivo à inexistência de IRE no que respeita ao tempo demorado a reconhecer essa posição. -------------- ABSTRACT:Study Design: Single factor experimental design. Objectives: To determine the effectiveness of real time cinematic biofeedback as extrinsic information in the recognition of the neutral zone of the scapula in healthy subjects; to measure the temporal performance and quality of the execution without extrinsic feedback, with clinical feedback and with cinematic feedback. Background: To recognize the proper scapula position and to be aware of the importance of this position to the stability and correct function of the gleno-umeral joint is a difficult task, because most people don’t have the necessary knowledge. It is known that extrinsic feedback is effective in motor learning, specially in the early stages. There are several studies that evaluated the influence of extrinsic feedback in rehabilitation of shoulder dysfunctions, but only in the electromyography format. Material and Methods: Sixty healthy subjects were randomly divided into 3 groups that received no feedback (group 1 – control group), verbal and palpatory feedback (group 2) and real time cinematic feedback (group 3). The performance variables considered – time and quality of execution - were statistically analyzed with ANOVA one-way and multiple comparisons test. Results: Control group and group 3 executed the task in less time that group 2 (p<0.01) and group 3 executed the task with better quality than control group and group 2 (p<0.01). Conclusions: From the results of this study we conclude that in the studied task, the cinematic feedback is more effective to facilitate a better quality of execution than no feedback or clinical feedback and, regarding to time taken to attain the requested position, equally effective to no feedback.

InStory – The Making of na Interactive Digital Narrative

Em cooperação com Glorianna Davenport do M.I.T. Media Lab