O olhar sobre a capoeira : um estudo dos filmes nacionais e internacionais

Este estudo busca compreender as representações da capoeira, feitas circularem pelas produções cinematográficas brasileiras e estrangeiras, e seu processo de desenvolvimento relacionado com a ideia de cultura brasileira. Tendo como fonte de análise 50 filmes de ficção, 20 produzidos no Brasil e 30 no exterior, onde a capoeira aparece de forma direta ou indiretamente, procuramos identificar nas imagens os elementos e mecanismos utilizados para apresentar a capoeira e a relação das apropriações destes elementos entre as produções nacionais e internacionais. Entendendo as características que compõem os elementos visuais, sonoros e textuais, como indícios que se apresentam de forma visível ou não visível nas películas, e que podem ser reveladores dos processos de apropriações e das lutas de representações sobre o entendimento da capoeira a serem projetadas para os espectadores, realizamos dentro deste processo metodológico, uma leitura minuciosa, detetivesca, ligando pontos e interrogando-os para a construção da narrativa por meio das evidências. A pesquisa aponta, até o momento, que da década de 1950 a 2012 a capoeira passa por transformações e ressignificações no cinema, onde é usada no processo de afirmação da cultura e identidade do povo brasileiro, seja pela ideia de esportivização ou pela busca das manifestações na história do Brasil. Desse modo, a capoeira é marcada por descontinuidades no seu processo de desenvolvimento como prática cultural, assumindo várias formas e se afastando do discurso tradicional, no qual há uma continuidade pautada em moldes de uma originalidade, expressadas no momento de captura das imagens em movimento e feitas circular no imaginário brasileiro e estrangeiro.

Factors Affecting the Financial Success of Motion Pictures: What is the Role of Star Power?

In the mid-1940s, American film industry was on its way up to its golden era as studios started mass-producing iconic feature films. The escalating increase in popularity of Hollywood stars was actively suggested for its direct links to box office success by academics. Using data collected in 2007, this paper carries out an empirical investigation on how different factors, including star power, affect the revenue of ‘home-run’ movies in Hollywood. Due to the subjective nature of star power, two different approaches were used: (1) number of nominations and wins of Academy Awards by the key players, and (2) average lifetime gross revenue of films involving the key players preceding the sample year. It is found that number of Academy awards nominations and wins was not statistically significant in generating box office revenue, whereas star power based on the second approach was statistically significant. Other significant factors were critics’ reviews, screen coverage and top distributor, while number of Academy awards, MPAA-rating, seasonality, being a sequel and popular genre were not statistically significant.

Language variation in source texts and their translations: the case of L3 in film translation

In addition to the two languages essentially involved in translation, that of the source text (L1) and that of the target text (L2), we propose a third language (L3) to refer to any other language(s) found in the text. L3 may appear in the source text (ST) or the target text (TT), actually appearing more frequently inSTs in our case studies. We present a range of combinations for the convergence and divergence of L1, L2 and L3, for the case of feature films and their translations using examples from dubbed and subtitled versions of films, but we are hopeful that our tentative conclusions may be relevant to other modalities of translation, audiovisual and otherwise. When L3 appears in an audiovisual ST,we find a variety of solutions whereby L3 is deleted from or adapted to the TT.In the latter case, L3 might be rendered in a number of ways, depending on factors such as the audience’s familiarity with L3, and the possibility that L3 inthe ST is an invented language.

The ambivalent identity of Wong Kar-wai's cinema

Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique. Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative.

Pedagogia crítica e o uso de filmes de longa metragem em sala de aula

A utilização de filmes de longa metragem no ensino de Administração vem recebendo crescente atenção de professores e pesquisadores. Diversos trabalhos científicos apontam tal uso como recurso pedagógico complementar ao uso de textos didáticos, estudos de casos e outros recursos. Entretanto, a literatura disponível parece adotar uma postura conservadora e conformista: em geral, os textos científicos registram e recomendam o uso de filmes comerciais norte-americanos para ilustrar conceitos da literatura gerencialista. Este trabalho toma como ponto de partida a discussão da crise no ensino de gestão e trata da questão do uso de filmes de longa metragem a partir de uma perspectiva crítica sobre a pedagogia e os conteúdos. Como ilustração, é discutida a utilização de Cidadão Kane , filme de Orson Welles, e Terra em Transe , filme de Glauber Rocha, em aulas de pós-graduação em Administração. O artigo trata das principais questões envolvendo o uso de filmes e traz pontos de reflexão para professores interessados em aperfeiçoar o uso desse recurso em sala de aula.

Estúdio Ghibli: um aparato sobre as técnicas ilustrativas e filosofia oriental dos principais longas metragens de Hayao Miyazaki

In front of the vast and widespread use of new technology in 3D animation currently, this research aims to give an overview adjacent to major film productions with Studio Ghibli and its main director/animator: Hayao Miyazaki. Showing up as an interesting exception to worldwide success, the Ghibli feature films are made with the predominance of 2D hand-drawn art. Its process dates back to the first animations created in the early twentieth century, though such tools have been “overcome” by big studios like Walt Disney, Pixar and Dreamworks, the works of Miyazaki still get considerable highlight, preferring the pencil and paper than the computer. With the aid of some authors in particular as McCloud and the founders of Anima Mundi, and other theorists of design and subjective philosophy, some analyzes are mapped to better understand the connection between the work of Miyazaki and his contribution to the field of illustration and originality as a whole. The objective is to find the key points of Ghibli animations which will drive new parameters between creativity, illustration and Western and Eastern praxis.

Violence-related PTSD and neural activation when seeing emotionally charged male-female interactions.

Post-traumatic stress disorder (PTSD) is a disorder that involves impaired regulation of the fear response to traumatic reminders. This study tested how women with male-perpetrated interpersonal violence-related PTSD (IPV-PTSD) differed in their brain activation from healthy controls (HC) when exposed to scenes of male-female interaction of differing emotional content. Sixteen women with symptoms of IPV-PTSD and 19 HC participated in this study. During magnetic resonance imaging, participants watched a stimulus protocol of 23 different 20 s silent epochs of male-female interactions taken from feature films, which were neutral, menacing or prosocial. IPV-PTSD participants compared with HC showed (i) greater dorsomedial prefrontal cortex (dmPFC) and dorsolateral prefrontal cortex (dlPFC) activation in response to menacing vs prosocial scenes and (ii) greater anterior cingulate cortex (ACC), right hippocampus activation and lower ventromedial prefrontal cortex (vmPFC) activty in response to emotional vs neutral scenes. The fact that IPV-PTSD participants compared with HC showed lower activity of the ventral ACC during emotionally charged scenes regardless of the valence of the scenes suggests that impaired social perception among IPV-PTSD patients transcends menacing contexts and generalizes to a wider variety of emotionally charged male-female interactions.

Keys: Kenya youth scenarios, 2011

Kenya youth scenarios are projections of alternative pathways into the future that explore the dynamic interaction between the social, political, technological, environmental and economic forces operating within a given context (such as a nation or local communtiy). It is important to note that scenarios are not predictions of what will happen, but rather, identify what may happen.

Kikulacho [videorecording] =: The bite within

This documentary shows how Kenyan leaders are to blame for the social injustices suffered by Kenyans since the attainment of independence from the British. The issue of land and land clashes, corruption, irregularities in elections and the constitution are some of the highlights of this documentary.

Terra sonâmbula [videorecording] =: Sleepwalking land

Young Muidinga is desperate to find the family he lost while his country Mozambique was in civil war. He finds a diary that recounts the story of a woman on a ship who is searching for her son. Convinced that he is her son, Muidinga decides to find her with the help of wise guardian Tuahir.

Half of a yellow sun

A beautiful sweeping story of two sisters caught up in the events of the Nigerian civil war, ending in chilling violence which shocked the entire world.

Ijé: the journey

Chioma, a child growing up in the Nigerian countryside, warned her restless sister, Anya, about the trappings of the American Dream. In "Ijé: The Journey" movie, ten years later, Anya is accused of killing 3 men in a Hollywood Hills mansion - one of them her record-producer husband. Chioma travels from Nigeria to Los Angeles, and with the help of a young attorney, discovers that the dark secret her sister wants to keep hidden might be the only thing that can win her freedom.

The cathedral

In Port Louis, Mauritius, a young woman in search of her identity interacts with friends and family in a carefree manner until a stranger, a photographer, sees her dancing in front of the cathedral.

National Cinemas and Non-Hegemonic Languages. The Invisibility of Galician Language Facing the Policies for Cultural Diversity

In the spirit of the proposals of the Agenda 2020 about the structural role of cinema in the configuration of the European identities, this article highlights the significance of the national cinemas in non-hegemonic languages in the conformation of a diverse European culture. Following this perspective, we use Galician cinema as a case study in which we analyze the presence (or more precisely the absence) of the Galician language in the original version in the feature films released between 2008 and 2012.This proposal is hosted by the I+D+I project eDCINEMA: “Towards the European Digital Space. The role of small cinemas in original version” (Ref. CSO2012-35784) financed by the Ministry of Economy and Competitiveness of Spain.

Marvel Cinematic Universe in translation: a study of intertextual coherence and inter-filmic discourse

The primary objective of the present thesis was to determine the extent of intertextual coherence and inter-filmic discourse retained in the Finnish DVD subtitles of the first twelve feature films set in the Marvel Cinematic Universe and ten episodes of the first season of Agents of S.H.I.E.L.D., a transmedia extension of the MCU. The cinematic world of Marvel was chosen as research data in this study for the inherence, abundance, and conspicuousness of its intertextuality. Two categories through which to retain intertextual coherence in translation were set as the premise of the study: 1) the consistent application of the same form of MCU-related proper names in translation and 2) the retention of MCU-related allusions in translation when the retention of the allusion is a strategic choice. The data was collected and analyzed primarily in this juxtaposition. The examination of the gathered data and the set research questions necessitated the division of audiovisual allusions into three categories: verbal visual allusions, secondary spoken allusions, and primary spoken allusions, the last of which was further divided into ambiguous and unambiguous types. Because of their qualitative inadequacies, unambiguous primary spoken allusions were not eligible as data in the present study. 33.3 percent of the proper names qualified as data were translated consistently in each installment they were referenced. In terms of allusions, 76.2 percent of the qualified source-text instances were retained in translation. The results indicate that intertextual elements are more easily identified and retained within the context of one narrative than when this requires the observation of multiple connected narratives as one interwoven universe.