Shakespeare and World Cinema

Review of the field

Cinema-going at the Southampton Odeon: Exhibition Data and Popular Taste

Cinemagoing data from the 1970s. A case study of the data from the Southampton Odeon

Retro, faux-vintage, and anachronism: When cinema looks back at Its Analogue Past

This article explores the definition of ���vintage cinema��� and specifically re-evaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: the faux-vintage, the retro and the anachronistic and by illustrating their overlapping and discrepancies, it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism and unravel the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013).

O m��todo coopera����o dos amigos do cinema

v. 12, n. 2, p. 203-223, jul./dez. 2014.

Le Comte de Monte Cristo: da literatura ao cinema

A presente disserta����o discute o di��logo estabelecido entre literatura e cinema no tratamento da personagem principal ��� um homem tra��do que se vinga de forma cruel dos seus inimigos ��� na obra liter��ria Le Comte de Monte-Cristo, de Alexandre Dumas, e nas tr��s adapta����es f��lmicas escolhidas: Le Comte de Monte-Cristo de Robert Vernay (1943); The count of Monte Cristo de David Greene (1975) e The count of Monte Cristo de Kevin Reynolds (2002). O projecto centra-se na an��lise da personagem Edmond Dant��s/Monte-Cristo na obra liter��ria e na sua transposi����o para a obra f��lmica, nos graus de adapta����o e contamina����o entre os diferentes textos em momentos temporais diferentes. Para isso, foram estudadas em pormenor cada uma das obras referidas, tendo sempre em vista o percurso do her��i. A adapta����o cinematogr��fica de uma obra liter��ria �� uma opera����o de cria����o de um novo texto com dinamismo e autonomia pr��prios, resultante de escolhas nem sempre f��ceis de realizar. A grande extens��o da obra liter��ria dificultou essa tarefa, no entanto, os realizadores procuraram constituir um fluir de personagens e de situa����es enquadr��veis num tempo ideal de visualiza����o confort��vel. Todas as narrativas combinam romance e desilus��o, ac����o e aventura, mas os temas da vingan��a e da trai����o s��o explorados numa perspectiva diferente. As conclus��es apuradas constatam que, independentemente da ��poca, a personagem descrita nos filmes manteve-se fiel �� caracteriza����o feita pelo seu criador Alexandre Dumas, apesar de algumas nuances necess��rias para criar um objecto que garantisse reconhecimento da cr��tica mas, tamb��m, o sucesso comercial.

Cinema 2.0 : modalidades de produ����o cinematogr��fica do tempo do digital

Tese de doutoramento, Sociologia (Cultura, Comunica����o e Estilos de Vida), Universidade de Lisboa, Instituto de Ci��ncias Sociais, 2014

Like branches in a river : viagens estrada afora e cidade adentro no cinema americano

Tese de doutoramento, Estudos de Literatura e de Cultura (Estudos Americanos), Universidade de Lisboa, Faculdade de Letras

A censura sem limites : as pr��ticas de censura no cinema e seus ecos na contemporaneidade demogr��fica luso-brasileira (1930-1950)

Tese de doutoramento, Educa����o (Hist��ria da Educa����o), Universidade de Lisboa, Instituto de Educa����o, 2015

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don���t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood���s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice���s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke���s Tarzan movies, Robert Stevenson���s King Solomon���s Mines (1937), and, on the European side, Duvivier���s P��p�� le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane���s Borom Sarret and La Noire de���, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun���s 2006 Daratt, Saison s��che - or the same director���s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mamb��ty���s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Ciss�����s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker���s stand. Sembene himself declared: ���I consider cinema a means of political action��� (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to ���take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs��� (Jeffries 2002: 11). All this echoes the claims of the F��d��ration Panafricaine des Cin��astes (FEPACI, founded in 1969), an organisation ���dedicated to the liberation of Africa���. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communaut�� organique francophone, FEPACI called for ���the creation of an aesthetics of disalienation��� [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West��� (Diawara 1996: 40). Sembene���s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world ��� with Hollywood at its centre?

The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre���s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as S��raphine de Senlis and Pirosmani.

O contributo da rotoscopia na rela����o entre cinema de anima����o e artes pl��sticas

A par de uma curta-metragem de anima����o intitulada Tele-sofia, o prosente trabalho enfatizar�� a import��ncia do desenho como base das artes pl��sticas. Partindo deste pressuposto, a identifica����o, compreens��o e inclus��o das componentes estruturais do desenho poder��o ser fortes adjuvantes na reconvers��o de pr��ticas tendencialmente mais tecnologizadas em po��ticas dos materiais e do atelier, distintivas das artes pl��sticas. Assim, na direta medida em que a rotoscopia se fundamente no desenho responsivo - como uma extens��o das possibilidades do desenho de modelo - ir-se-�� integrando no campo art��stico, tornando a obra resultante numa anima����o de experi��ncias pl��sticas. Afinal, o desenho n��o se confina �� perfei����o reprodu����o mec��nica da realidade - a mimesis - ele requer interpreta����es idiossincr��ticas e uma profunda empatia com o referente, dados apenas registados por um instrumento sens��vel: o artista.

Rela����es P��blicas para o Cinema Portugu��s: Uma proposta para aproximar a ind��stria e os seus p��blicos

O cinema portugu��s n��o tem junto do p��blico nacional o mesmo apelo de outros tempos. Hoje a oferta �� maior e o cinema norte-americano parece ter invadido as salas de cinema portuguesas. Hoje o cinema portugu��s est�� mais dependente do financiamento p��blico, a ida ��s salas de cinema para ver produ����es nacionais �� parca quando comparada com aflu��ncia para ver filmes de outros pa��ses e a produ����o nacional nem sempre passa nas salas nacionais. Sob este cen��rio, o trabalho aqui apresentado pretende responder ao que parece ser uma necessidade de desenvolvimento e de crescimento do sector usando como ferramenta as rela����es p��blicas. Este trabalho consiste, assim, numa aplica����o pr��tica das t��cnicas de rela����es p��blicas para construir uma estrat��gia de comunica����o que, por um lado, promova o cinema portugu��s e que, por outro, fortale��a o sector.

Caracteriza����o da atitude dos consumidores face �� utiliza����o do cinema como meio publicit��rio

Disserta����o apresentada �� Escola Superior de Comunica����o Social para obten����o de grau de mestre em Publicidade e Marketing.