Shrek: do conto aos filmes, em uma sucessão de paródias

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

Filme O Jardim Secreto: uma experiência com a leitura das legendas cinematográficas

By analyzing the pedagogical practices in respect of acts of reading in the current context of school education institutions vital, it is clear that they are linked to decipher. But it is believed that for the student to learn to read is necessary dialogue with the text, attribute meaning to writing and comprehension. When thinking about the use of technologies such as film subtitles, it is believed that they allow readers to form since they require a quick read without using the decryption with the attribution of meaning to follow the entire course of the film. This paper aims to present and analyze a film session the project subtitled and dubbed films in public schools and training of the reader, which investigates the contributions of cinematic legends in training readers in elementary school. In this paper we present data on the session of the film The Secret Garden, with students between six and ten years old in a public school in Marilia, SP. The session took place in film school, in a room adapted. When analyzing the results, we observed that reading subtitles contributes to children are not attached to decipher, because we used reading strategies to understand the plot and tried to dialogue with the text. This approach not only contributes reader for reading the screens, but also in fixed supports, for developing specific tactics for the scrolling text which can be applied to the texts on the immobilized support.

Deus escreve certo por linhas tortas

If cinema is an essentially urban means of expression, the fruit of technique and industry, can a film narrator express in a film’s esthetics a caipira’s « Weltanschauung » (world vision or philosophy) ? We suggest, agreeing with Benjamin – who considers that narrative is the best expression of manual and traditional work’s time– that the story related by the film A proteção de Santo António constitutes a cinematographic narrative which can be classified as caipira. Tenderly called by the audiences Santo António e a vaca, this film was supported by a large part of the population for its making, which allowed to fill in the lack of technical and financial resources. Here, we defend the idea that the visible traces of this work in this particular film, turns it into a real filmic narrative and also into a sincere tribute to caipira culture.

A queda da casa de Usher, de Edgar Allan Poe, e La chute de la Maison Usher, de Jean Epstein: um estudo do espaço na literatura e no cinema

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Das letras às telas: a tradução intersemiótica de Ensaio sobre a cegueira

Pós-graduação em Letras - FCLAS

O cinema de Manoel de Oliveira: um caso singular

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A cidade contemporânea à luz do cinema: o virtual e a transformação do espaço urbano

A compreensão da realidade imaginária do cinema e sua ligação com a arquitetura e urbanismo, vão além de representações cenográficas meramente ilustrativas. Mais do que perceber a distinção entre real e imaginário, é necessário entender a relação entre essas duas dimensões, tanto do ponto de vista histórico, como daquele propositivo, do pensar e refletir sobre projeto da cidade contemporânea. Arrisca-se em pensar em uma unidade complexa complementar se tomarmos as tangências históricas e estéticas que permeiam essa relação. Através da análise do espaço apresentado pela indústria cinematográfica a partir dos anos ’80, é possível delinear algumas hipóteses de como se pode indagar sobre o projeto da cidade contemporânea, diante das grandes transformações porque passaram o espaço urbano, a identidade dos lugares, da memória, enfim da cidade através de imagens, tecnologia e dinâmicas de rede e geografias descontínuas. Essa condição pode ser notada, mais especificamente, a partir de três filmes, utilizados neste trabalho como suporte de reflexão: do caos e sobreposição de extratos de alta densidade de peter greenaway, típicos da cidade como palimpsesto da cidade contemporânea, do vazio perturbador de lars von trier na morte do espaço público anunciado por richard sennet, ao o espaço labiríntico de christopher nolan a partir das geografias descontinuas das cidades em redes. A imagem como fator inevitável na sociedade contemporânea enlaça, cada vez mais profundamente, a relação entre arquitetura e cinema juntamente com as técnicas construtivas, a tecnologia e as relações humanas que transformam a forma de habitar as grandes metrópoles

Video mapping: um estudo teórico e prático sobre projeção mapeada

The project presents an explanation of the technique of video mapping, resource use, origin and use of the strands. Also conducts multidisciplinary literature review of concepts that can be applied to the technique of video mapping: Augmented Reality, Spatiality in Virtual and Real Environments. The project also introduces aspects of the history of cinema and audiovisual narrative. In addition conducts an inventory of software and hardware required for the technique of video mapping, reports performing experiments with the use of the technique and discusses the results obtained. As a contribution to development area, proposes to use video mapping as an augmented reality tool at an immersive experimental film language

A pluralidade narrativa do cinema e a crítica negligente: estudo de caso : anticristo e melancolia, de Lars Von Trier

The cinematographic language is notedly plural and heterogeneous. There are many filmic elements that “narrate” all the time, in different ways. Besides enumerating some of them, this study seeks to analyse if the criticism is attentive to all of these tools or if it sticks only to some of them. It’s also reflects if this activity uses more objectives or subjectives aspects as basis for its conclusions. Here, a very specific field was chosen: the study is done by a comparative analysis of the reception of Brazilian’s and European’s criticism from two Lars Von Trier’s films, Antichrist and Melancholia. After explaining how the narrative elements are used in the cinema, it’s demonstrated that, in general, the criticism is negligent and does not analyze all of those tools. In some cases, the analysis of some elements is done in a superficial way, so others aspects can be highlighted

Nós falamos da vida

It is said that a film producer to receive a prestigious award in the United States thanked saying We Speak of Life. Maybe this isone of the reasons for the fascination produced by this art. Life is a movie. The film celebrates life. The book We Speak of Lifeshows who are professionals of the cinema exhibition, those who are in the small microcosm that is the projection room and usuallyare not remembered by the general public

Narrativas Multimodais: a imagem dos matemáticos em performances matemáticas digitais

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Babel subjetiva ou a mais completa tradução: considerações sobre Budapeste de Chico Buarque

This paper discusses aspects of Budapest, by Chico Buarque, published in 2003. In the novel, a contingency takes the protagonist, a Brazilian, to Hungary. There, involved within a culture quite distinct from his, he has experiences in a strange language, which “even the devil respects”, and with an interesting woman, who teaches him the language. Both, language and woman, turns into mirrors that refract and put his subjective experience, as babelic as the Hungarian, up side down. Considering contingency as a category from the Real (Lacan) and translation as mechanism of subjective search of a blot origin (Derrida), at the same time transcreation (Haroldo de Campos), we will pinpoint some ways to the novel reading.

A Confluência de Gêneros em Dark Water, de Walter Salles Jr.

Dark Water is the title of the translation of a short story, ―Floating Water‖, from the book Honogurai mizu no soko kara by Koji Suzuki, originally published in Japan, that the Japanese director Hideo Nakata adapted for the cinema and that was remade by the Brazilian director Walter Salles Jr. The objective of this study is to analyse Walter Salles’ film to demonstrate how it resolved the problems of transcreation, whilst at the same time it fulfilled commercial and artistic functions and incorporated the traces of its aesthetic trajectory. In this case, attention is drawn to the types of relationship between literature and cinema, to the metalinguistic function as a generator of poetics and of an interesting dialogue between genres.

Os deslimites da poesia e os reflexos do mundo: uma leitura de No banheiro um espelho trincado

Lyric poetry is where the relationships between world perception, language and representation are mostly problematized. In fact, poetic creation oscillates between the desire of a realistic expression of the world, beings and things and the understanding that its urgent task is simply to reinvent the world order and denaturalize it. Thus, Sérgio Mello’s poems in No Banheiro um Espelho Trincado (2004) conceive a poetry mainly concerned on the tension between words and things; between the lyric subject and the world; between language and the reality it encloses, through groups of images that range from the natural to the rupture process. His poems are small pieces of narrative, scenes that are articulated through the cutting technique, like the process of a cinematographic edition.

Memoria se deseja, o resto se ouça ou veja: considerações sobre um poema de Frederico Barbosa .(2010)

In Frederico Barbosa’s poem “Memoria se”, the memory experience is marked in the body, which means that the memory is not only recorded on the lyrical person unconsciousness, but it is also something that, as an insignia, presents itself and becomes dense as permanence in this lyrical person body. The poet is heir of what may be called “tradition of rigour,” consequently, a discussion of his poetics aspects must consider the inventiveness and the dialogue with other texts, not only those from the canon but also those from the popular repertory that Frederico Barbosa assimilates and recreates.