Cinema e educação :interfaces, conceitos e práticas docentes

This project goes beyond the interfacial field of cinema, History and education. We take as our object the epistemological potential of the cinema at the educational scenario, specifically the use of films integrated to the practices of History teachers and educative processes in which we have taken part as a builder. Our objective is to map, initially, the knowledge around this use to search a synthesis and its empirical application. From the methodological point of view, we have made use of different perspectives: (a) interviews with the educator subjects; (b) observation of their practices and formative circumstances; (c) filmic analysis and the relation of the cinema s epistemology with the other areas ones (initially History and further Journalism). Our analysis allowed us to portrait the film such as an epistemological-troubling category, what makes the cinema rather a builder technology and not simply a complementary and illustrative technological resource. Therefore, we have realized that the restriction to the cinema s educational function is linked to the restrictions to the theoretical categories to an only interfacial aspect: historical film as a film which portraits the past (at the historical field) and film on journalism as a film which approaches a single object of Journalism (at the journalistic field). These discussions happen, consequently, at the arena of the nature of cinema s genres (fiction and documentary), which are understood in a naïve way, simpler than its epistemological possibilities, boosted at this research when we analyze the confluence between fiction and reality. The reflections on educative practices and in formation related to the cinema had occurred in three empirical realities: research with professors in performance, practices docent s and accompaniment of students of history. Have to do with our personal career as a teacher and researcher and, when analyzed other practices, have become, unavoidably, the subject and object of this project

No caminho das artes marciais: a relação mestre e discípulo como educação sensível

This research reflects the relationship between Master and Disciple original from the Martial Arts, and anchors their focus on sensitive education that emerges from this relationship. The interest here is knowing how the tradition of millenarian teachings is passed through the years, and how it gives from the relationship of Master and Disciple. To that end, I lean me in that context and also reflect on my experience as a Disciple of the Martial Arts, to that end, I lean me in that context and also reflect on my experience as a Disciple of the Martial Arts, and is from the immemorial fund that can give voice to that experience, through my body attached in the world of significations in which the experience lived is narrated by the story. Anchored from the phenomenological attitude from the philosopher french Maurice Merleau-Ponty, I think this research on three central pillars to guide our study categories, namely: the lived experience, body and liberty. Still, as a form of highlighting this sensitive work, beyond the texts of the philosopher Merleau-Ponty, we bring our dialogue of the cinema, literature and the writings of some the Masters of Martial Arts. For that, I think this research as a journey, where it, Master and Disciple march together in the ways of Martial Arts, baptizing and celebrating this sensitive education from that relationship affective and empathic

A interculturalidade no cinema: um estudo da legendagem e da dublagem brasileiras em um filme francês contemporâneo

In this research we present a study of cultural aspects in dubbed and subtitled films. As a case study, we chose to compare the original French version of "Le fabuleux destin d'Amelie Poulain" with both the subtitled and the dubbed versions in Portuguese, with focus on the interaction between the French and the Brazilian cultures. First we considered that (i) the translation process interferes on the perception of cultural relationships; and that (ii) dubbing and subtitling are two methods of translation that result in distinct perceptions from the spectator. Then, we adopted the translation interpretative theory (Seleskovicth; Lederer, 2001; Deslile, 1980) as the general theoretical framework, since it emphasizes the extralinguistic equivalence on the translation process. Furthermore, we based this research on three analytical procedures, which are: the four-step translating operation, the contrastive perception and a translation's typology based on Vinay and Dalbernet's linguistic procedures (Srpová, 1991, 1995, 2004). We extracted forty-six culture-related elements from the film and identified those belonging to the French ethno-universe. Then, the elements were classified with respect to a theoretical typology, based on concepts found in the Ethnography of Communication and a general typology, based on five general thematic groups, defined by the corpus. The results showed that both Brazilian versions tend to preserve those culture-related elements by using lexical loan and literal translation. The visual context, in its association with the linguistic procedures in both Brazilian versions, was also observed as an important element to the comprehension of the culture-related elements as they are considered in the French culture. As a general observation, the perception of culture-related elements in the film seems effectively be oriented by the translation methods

Medo de dentista em cena: uma análise de produções cinematográficas

The fear related to dental procedures can be acquired through disturbing experiences and/or negative cultural influences related in experiences of previous generations. Such influences may be present in diverse forms of cultural expression: in the cinema, plastic arts, music, literature, and diverse vehicles of printed and visual media. This research aimed investigates the images of fear related to the dental service and dentist in motion pictures. The study has qualitative approach, which used the documentary analysis of movies. The data collection was accomplished through research in the Internet by means of the Google tool (http://www.google.com.br), using the describing words filme and dentista . A total of 44 films were found. Of these, after selective criterion for films with scenes showing interaction between dentist and patient in the execution of clinical procedure, only 24 films were enclosed. Then, these were registered in data base created for this research. After second selective criterion of inclusion (scenes with suggestion of dental anxiety), 15 films remained. As regards cinematographic gender, the films with scenes showing "dental anxiety" varied between comedy (8), horror (3), drama (2), thriller (1) and childish (1). Of these films, scenes with images of situations that suggest fear of the dentist and his job were selected and described. The images were categorized by the identification of negative characteristics that incite "dental anxiety". Then, the classification of the categories was proceeded detaching the most recurrent characteristics in the scenes: situation of fear in the waiting-room; pain; instrument coarse/rudimentary; coarseness of the dentist; torture; and low qualification technique. The waiting-room was observed as a place of great tension, due to the noises coming from the dental attendance. The pain related to the Dentistry was the predominant subject in the majority of films (14), associated to others negative characteristics. The rudimentary aspects of procedures and instruments, and the coarse attitudes of the professional could be observed too. The dentist was characterized as confused, sadist, violent, insensitive, incompetent person and disturbed. Such results suggest that, despite the technological advances of the profession, the image of the dentist and his job is still transmitted in a negative way aspect and reinforces the dental anxiety

Outras verdades, muito extraordinárias, do grande sertão

This study explores the symbolism of evil way in the novel Grande sertão: veredas, by Guimarães Rosa, regarding faustian pact by Goethe, and so tries to understand how the rosiana language are present to the strategies which put in suspense the effectiveness of the demonic agreement and enable, with poetic intensity, different interpretations, especially as regards the anguish of the human condition. This research thus has drawn upon the Mythical Symbolism, in Literary Criticism and aspects of Metaphysics, in addition to analyzing classic literary essays in approaching of Rosa s masterpiece structure. It has also demonstrated that the incorporation of the Faust legend in Grande sertão reflects the same desire for happiness that is not done completely, and in this manner, instigates a discussion about the limits to the satisfaction of being human. Therefore, it has observed that epic narrative of ex-gangster Riobaldo to the doctor of city speculates on human man, in the continuous learning of his passing

Metáforas, memórias e narrativas: aproximações e distâncias na formação de professores : uma análise de narrativas de professores de artes do Programa REDEFOR

Pós-graduação em Artes - IA

História e cinema: encontro de conhecimento em sala de aula

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

O tempo através das mídias: fotografia, cinema, televisão

Pós-graduação em Artes - IA

Cine'stesia: uma visão crítica no fazer e pensar cinema

Pós-graduação em Artes - IA

Caminhos da cerâmica em Cunha: paneleiras, olarias e ateliês, elementos importantes na formação do histórico ceramista da cidade

Pós-graduação em Artes - IA

Inspiração a dois: a dança em contexto crítico dialogia com artes visuais

Pós-graduação em Artes - IA

A caixa de Pandora: as deusas e o feminino no cinema

Pós-graduação em Artes - IA

Aspectos históricos e implicações da utilização do efeito 3D no cinema: o caso de A invenção de Hugo Cabret

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

José Louzeiro, do romance-reportagem ao cinema: estudo da adaptação literária para o audiovisual a partir de Lúcio Flávio e Infância dos Mortos

Pós-graduação em Comunicação - FAAC

Estratégias da comunicação no cinema pós-11 de setembro: a legitimação da guerra

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)