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The Irish Sea basin forms a distinct node of histories, economies, and identities. The Ports, Past and Present project considered five very different ports and their communities on either side of the sea: Dublin, Rosslare, Holyhead, Fishguard and Pembroke Dock. This is the redacted and abridged business plan for the project, which ran 2019-23. Executive Summary The ultimate changes sought and the final outcomes for the Ports, Past and Present project are: • Coastal communities enjoy an increased awareness of their cultural heritage and develop new opportunities for heritage tourism. • Port towns become ‘stopping places’ and ‘spending places’ rather than just ‘through places’ for tourists, with an increase in tourism-related employment • Tourism Networks are formed between twinned Irish and Welsh ports, linking local authorities, tourism-related SMEs, community organisations and creative individuals on both sides of the Irish Sea.

PortCityFutures: Mindsets and values, contestation and friction Vincent Baptist, Francesca Savoldi, and Carola Hein Showcasing the ‘Ports, Past and Present’ project through its media James Louis Smith Sustainable subsea networks: Connecting ports, ships,and cables George N. Ramírez Musicians’ labor organisation in the port city of Valparaíso Eileen Karmy Pleasurescapes: From maritime stereotypes to uncanny infrastructures Vincent Baptist, Judit Vidiella Pagès, and Aurelio Castro-Varela

Since its inception in 2009, the housing movement in Spain, led by the Platform for People Affected by Mortgages (PAH), has confronted a devastating wave of housing foreclosures and evictions. Remarkably, the PAH has enjoyed wide coverage in the mass media. Among the latter, numerous fiction and non-fiction films have portrayed home evictions and the housing struggles opposing them. This article selects four documentaries focused on the PAH and investigates how they represent the context of social and political contention and their contribution to fostering housing activism. In so doing, we mainly use first-hand interviews with the filmmakers and a comparative analysis of the narrative strategies followed by each documentary. As for the context, we present the demands, campaigns and protest repertoires of the PAH in relation to the post-2008 global financial crisis, which frames the political significance of the documentaries. By comparing the examined documentaries, we find that their narrative strategies split into ‘direct’ and ‘lecturing’ approaches on the one hand, and ‘macro’ and ‘micro’ spheres of the context subject to representation on the other. In addition, the filmmaker’s activist engagement substantially shaped the production and dissemination of the films.

Straipsnyje analizuojamas Eimanto Belicko režisuotas dokumentinis filmas "Tumo kodeksas“, kuriame siekiama atskleisti, koks jame sukuriamas Vaižganto vaizdinys. "Tumo kodeksas“ įteisina naują dokumentinio filmo kalbos konvenciją, grįstą dokumentinę faktografiją ir išmonę bei dvi laiko plotmes derinančia žiūra. Belickas dokumentiniame filme "Tumo kodeksas“ pasirinko laiko chronologija grindžiamą pasakojimą ir jį konstravo iš Lietuvai gyvybiškai svarbių XIX a. pabaigos–XX a. pradžios politinių ir kultūrinių įvykių, kuriuose aktyviai dalyvavo ir Vaižgantas. Todėl visuomeninis Vaižganto vaizdinys filme daug reikšmingesnis, dažnai užgožiantis asmeninį. Filmo pavadinime esanti Tumo pavardė formuoja būtent asmeninės, privačios erdvės prerogatyvos lūkestį, kuris filme išpildomas tik iš dalies ir fragmentiškai. Filme dominuoja visuomeninė plotmė, viešai atliekami vaidmenys, besisiejantys su Vaižganto vardu. The article analyzes the documentary film "Code of Tumas" directed by Eimantas Belickas and seeks to reveal the image of Vaižgantas. The "Code of Tumas" legitimizes a new convention on the language of documentary film, based on documentary fact and fiction and a double temporality. In the documentary film "Code of Tumas", Belickas chose a narrative based on the temporal chronology of the political and cultural events of late 19th and early 20th centuries, in which Vaižgantas took an active part. Therefore, the social image of Vaižgantas in the film is much more significant, often overshadowing the personal one. Tum’s surname in the title of the film forms the expectation of the prerogative of personal, private space, which is only partially and fragmentarily fulfilled in the film. The film is dominated by the public sphere, with publicly performed roles associated with the name of Vaižgantas.

Tracing the collaboration between Dylan and Scorsese from the 1960s on to the Netflix original 'The Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese' (2019), this article argues that the mutual respect of the two artists rests on a shared contestation of borders between fact and fiction. In the spirit of romanticism, both Dylan and Scorsese manage to maintain their unique style as they continue to create new teams as well as audiences.

Mafrouza is a twelve-hour-long documentary by French director Emanuelle Demoris, shot in a now-demolished neighbourhood in Alexandria, Egypt. Demoris is one of a long chain of western filmmakers who appeal to some form of ‘taking one’s time’ as an instrument for — morally, politically, epistemologically — adequate representation. Based on the work of Trinh T. Minh-ha, Eduard Glissant, and Poor Theory, this chapter evaluates what happens when a film adopts a strategy of deferral in cases in which it is not clear how questions of ‘doing justice’ could be resolved. Using long duration and an insistence on the quotidian, Demoris’s film forces us to think about the conditions that make pronouncements about character, situation, and narrative possible, continuously postponing the moment when it will become possible to say: ‘this film is about …’. By setting itself up for failure, the film proposes one possible approach to the ethics and politics of visibility. Rosa Barotsi, ‘Not Yet: Duration as Detour in Emmanuelle Demoris’s **Mafrouza/** Cycle’, in Errans: Going Astray, Being Adrift, Coming to Nothing, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 24 (Berlin: ICI Berlin Press, 2022), pp. 75-92

Through analysis of three “New Documentary” films about labor in post-socialist China, this thesis investigates how Philip Huang’s concept of the third realm appears in both the filmmakers' negotiations with the state and the state-society interactions embedded in the films themselves. Though the Chinese state is frequently seen as authoritarian and its citizens as repressed individuals, in Wang Bing’s West of the Tracks (2003), Jia Zhangke’s 24 City (2008), and Huang Wenhai’s We the Workers (2017), we witness how their relationship can be one of negotiation, rather than simply one of command.

Orientador: Nuno César Pereira de Abreu Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: A proposta da presente pesquisa resume-se na análise de dois documentários de Vladimir Carvalho produzidos no início dos anos 80. O Homem de Areia, de 1982 e O Evangelho segundo Teotônio, de 1984; destacam-se na filmografia do diretor por não se centrarem numa coletividade de anônimos como seus filmes anteriores e sim em biografias de duas personalidades públicas e eminentemente políticas: José Américo de Almeida e Teotônio Vilela. Atentando-se para estes dois filmes, a análise se direciona para essa mudança de foco - do popular ao público, partindo de uma revisitação à trajetória filmográfica do autor até chegar à estrutura formal resultante destes dois filmes. A instrumentalização de uma figura pública para se abordar todo um processo sócio-histórico que já vinha sendo questionado nos filmes anteriores; bem como a evolução de toda uma sistemática de produção que estes filmes puderam encampar, constituem a tônica deste estudo. Abstract: The purpose of this research is to analyze two Vladimir Carvalho's documentaries produced on the early 80's. The Sand's Men, 1982 and The Evangelic according to Teotonio, 1984; they stand out on the director's filming, because they do not focus on anonymous people like his previous movies, instead they focus on the biography of public figures and eminently politics: José Américo de Almeida and Teotônio Vilela. Observing the two films, the analysis goes towards this change on focus - from the popular to the public, starting from the revisit on the filming course from the author until the formal structure resulting from the two movies. The utilization of public figure to approach the social-historical process that were being questioned on the previous movies; as well the production system that the movies used, compose the target of this study. Mestrado Mestre em Multimeios

Orientador: Antônio Carlos Rodrigues de Amorim Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem Resumo: Este estudo aborda conceitos e obras que inter-relacionam teoria e prática no processo de criação do Coletivo Garapa, tomando seu mais recente trabalho, "Postais para Charles Lynch", produzido com apoio da Bolsa ZUM de fotografia 2014, do Instituto Moreira Sales (IMS), como ponto de interlocução entre a produção do Coletivo e outros artistas. Além disso, situa Garapa no campo de produção artística e documental, tateando este universo em busca de interlocutores em um espectro que se apresenta entre os campos da arte, do fazer documental e da divulgação cultural Abstract: This paper discusses concepts and connects theory and practices of Colective Garapa¿s processes of production. The research reflects upon the work of the Collective, specially its most recent project "Postcards to Charles Lynch", corresponding it with other artists¿ productions. The paper aims to situate Collective Garapa in the field of the visual arts and also to explore the intersections of such field with the documentary practices and the scientific communication. Postcards to Charles Lynch was Granted by "Bolsa ZUM de fotografia do Instituto Moreira Sales (IMS)" in 2014 Mestrado Divulgação Científica e Cultural Mestre em Divulgação Científica e Cultural

Orientador: Fernão Vitor Pessoa de Almeida Ramos Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Essa pesquisa intitulada A Obra Documentária de João Batista de Andrade durou três anos e teve como objetivos: a) a realização de um levantamento completo de toda a filmografia documentária do cineasta João Batista de Andrade percorrendo quarenta anos de carreira. e quase setenta filmes; b) analise de nove filmes considerados fundamentais tanto pelas inovações temáticas, quanto estéticas; c) realização de uma longa entrevista com o cineasta tendo como foco central seu processo de produção, escolhas, metodologia e diálogos do seu cinema documentário. Nessa trajetória uma vasta leitura bibliográfica foi fundamental, além de extensa pesquisa de documentação nos mais variados arquivos (Cinemateca Brasileira, MISSP, CCSP, TV Cultura, Itaú Cultural, além das bibliotecas das da ECA/USP e do Instituto de Artes da Unicamp). A busca por dados, principalmente referentes às fichas técnicas, mostrou informações confusas, com vários nomes incompletos e datas que se chocavam. A pesquisa bibliográfica ampliou o horizonte das discussões em torno da construção da história brasileira e da historia do cnema brasileiro. Ao final obtevese uma pesquisa inédita composta de cinco capítulos pensados cronologicamente onde é possível acompanhar a trajetória humana e profissional de João Batista; um acervo rico em informações primárias (fichas técnicas, sinopses e localizações desses filmes) e por última a gravação e posterior transcrição de uma entrevista realizada em três dias, que gerou muita informação para complementação desse estudo, além de rico material audiovisual Abstract: This research entitled The Documentary Work of João Batista de Andrade, was made in three years and had the following objectives: a) make a complete research about the entire filmography of documentary produced by João Batista de Andrade along forty years of career and nearly seventy movies that were made by him; b) analysis of nine films deemed essential by thematic innovations and esthetic; c) realization of a complete interview with the film maker, having his process production, choices, methodology and dialogues of his documentaries as the central theme. For this paper could be made, an ample reading literature was essential, in addition to extensive research in a variety of documentation files at the Cinemateca Brasileira, MISSP, CCSP, TV Cultura, Itaú Cultural, besides the libraries of ECA/USP and the Arts Institute of Unicamp. In the search for data, mainly relating to technical fiches, some confusing informations were founded, with many incomplete names and dates that could be in conflicts with others. The bibliographic research extended the horizon of the discussions about the construction of the brazilian history and the history of the brazilian cinema. At the end of this work, we got an unprecedented search composed of five chronological chapters in which is possible to follow the human and professional trajectory of João Batista, a full collection of primary information (technical fiches, synopsis and the locations of his films) and, finally, the transcription of a record of an interview conducted in three days with the film maker, which generated lots of information that can be used as complement of this work, besides of being an important audiovisual material Mestrado Mestre em Multimeios

Orientador: Fernão Vitor Pessoa de Almeida Ramos Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Esta pesquisa tem como objetivo realizar um estudo acerca da noção de "documentário autobiográfico", tomando como principal objeto a obra do cineasta estadunidense Ross McElwee. A obra do diretor será abordada dentro da perspectiva do cinema autobiográfico desenvolvido no contexto universitário da cidade de Cambridge (EUA). Nascido em 1947 em Charlotte, Carolina do Norte, McElwee iniciou sua carreira cinematográfica na década de 1970, como aluno do departamento do cinema do MIT, o MIT Film Section. Sua carreira inclui títulos importantes para a história do documentário autobiográfico estadunidense, como Sherman¿s March (1986), Time Indefinite (1993) e Bright Leaves (2004). McElwee pode ser considerado um dos principais diretores do documentário autobiográfico, e também da cinematografia praticada em Cambridge. O trabalho apresentado divide-se em três partes. A primeira delas busca levantar e responder questões mais gerais sobre o que denominamos "documentário autobiográfico", a partir de um corpus filmográfico amplo e variado. Na segunda parte, realiza-se um resgate histórico e conceitual do documentário autobiográfico de Cambridge, frisando sua relação com a tradição do cinema direto estadunidense e sua projeção na obra de Ross McElwee. A terceira parte dedica um olhar à noção de autobiografia desenvolvida por McElwee em sua carreira. A obra de Ross McElwee traz em si um movimento de construção autobiográfico contínuo, desenvolvido ao longo de mais de três décadas e sete filmes. Trabalharemos analiticamente este movimento diacrônico, que incide em modo narrativo na obra de McElwee. A cada novo filme é particularizada sua proposta artística, afirmando-se sempre dentro do horizonte de um documentarista-autobiógrafo Abstract: This research aims to study the notion of "autobiographical documentary", taking as its main object the work of American filmmaker Ross McElwee, seen within the perspective of the autobiographical documentary which was developed in Cambridge (MA) and its universities. Born in 1947 in Charlotte, North Carolina, McElwee began his film career in the 1970s as a student at the MIT Film Section. His career includes important titles for the history of the American autobiographical documentary, such as Sherman's March (1986), Time Indefinite (1993) and Bright Leaves (2004). McElwee can be considered one of the main representatives of the domain of autobiographical documentaries, as well as of the kind of filmmaking which was practiced in Cambridge. This study is presented in three parts. Part one seeks to raise and answer more general questions about the domain of autobiographical documentary, based on a broad and diverse filmographic corpus. In the second part, a historical and conceptual complexion of Cambridge autobiographical documentary takes place, in which its relationship to the tradition of American Cinema-Vérité is emphasized, as well as its projection into the work of Ross McElwee. The third part looks at the notion of autobiography that was developed by Ross McElwee in his career. Ross McElwee¿s oeuvre brings in itself a movement of continuous autobiographical construction, developed for more than three decades and in seven films. This diachronic movement will be analytically looked at, which complicates narratively McElwee's work with the release of each new film and particularizes his artistic proposal as a documentarist-autobiographer Doutorado Multimeios Doutor em Multimeios FAPESP 2013/08742-6, 2015/02194-2

Orientador: Márcio Orlando Seligmann-Silva Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem Resumo: A pesquisa analisa a produção cinematográfica brasileira em dois momentos. O primeiro corresponde aos 21 anos da ditadura civil-militar, com o intuito de demonstrar algumas formas de resistência ao regime ditatorial, no cinema. O segundo seleciona, no período de 20 anos após o fim da ditadura civil-militar brasileira, dois documentários construídos, particularmente, por testemunhos de sobreviventes da ditadura brasileira, que ora discutem seus papéis e os rumos da resistência, ora problematizam as ações revolucionarias, que levaram a derrota dos movimentos de oposição à ditadura. Este caminho historiográfico foi pensado para discutir o cinema como objeto de análise das várias formas de resistência, pelo fato de esgarçar a realidade e promover a reflexão por conta do conceito de "vida nua" (zoè), pensada por Giorgio Agamben (2002), e que claramente está presente nos filmes estudados. Nestes termos, o conceito de história repensado por Walter Benjamin (1994) e Theodor Adorno (2009), salienta o trabalho de releitura, por meio do cinema, da historiografia brasileira durante a ditadura, pois evidencia a "vida nua" desta sociedade. Após uma breve historiografia da produção fílmica brasileira, nos detemos no estudo mais apurado do documentário em busca de aproximar categorias, como documentário, trauma, memória e testemunho, esses dois últimos conceitos apoiados em Jacques Le Goff (1990), Paul Ricoeur (1995), Emile Benveniste (1969), entre outros. Detivemos-nos analiticamente na tarefa de compreender melhor o testemunho, tomando a etimologia do vocábulo e suas múltiplas associações, assim como as relações com outras formas artísticas, como a fotografia e a pintura. Movimentamos o conceito no sentido de ampliar seu uso para a análise da cinematografia relacionada ao testemunho dos sobreviventes da ditadura civil-militar brasileira. Deste ponto, procuramos compreender a constituição do documentário e sua vinculação ao conceito de performance e seus usos em algumas áreas do conhecimento. Tivemos o intuito de caracterizar o que seria o documentário performático, categoria criada por Bill Nichols (2005), e apontar possibilidades para ampliar esta classificação, pois o documentário performático enquanto modo de documentário é amplo demais e necessitaria de outras subclassificações para dar conta das especificidades dos vários tipos de documentários. Por isso, a análise do corpus da produção pós 64 nos permitiu derivações do conceito, no intuito de produzir uma melhor compreensão dos objetos estudados. Assim criamos outra forma de documentário performático com vistas ao estudo, o documentário performático heroicizante, compreendido nos filmes Que bom te ver viva (1989), de Lúcia Murat; e No olho do furacão (2003), de Renato Tapajós e Toni Venturi Abstract: The research analyzes the Brazilian filmmaking on two occasions. The first corresponds to 21 years of civil-military dictatorship, in order to demonstrate some forms of resistance to dictatorship in the cinema scheme. The second selects, from 20 years after the end of the Brazilian civil-military dictatorship, two documentaries composed particularly by testimonies of survivors of the Brazilian dictatorship, which now discuss their roles and the paths of resistance of course, now problematize the revolutionary actions, that led the defeat of the opposition movements to dictatorship. This historiographical way was thought to discuss the film as the object of analysis of the various forms of resistance, because it frays reality and promotes reflection on account of "bare life" (Zoè), designed by Giorgio Agamben (2002), which clearly It is present in the movies. Accordingly, the concept of history rethought by Walter Benjamin (1994) and Theodor Adorno (2009) highlights the retelling of work, through the cinema, the Brazilian historiography during the dictatorship because it highlights the "bare life" of this society. After a brief historiography of Brazilian filmic production, we pause in more accurate study of the documentary in search of approaching categories such as documentary, memory and testimony, the latter two concepts supported by Jacques Le Goff (1990), Paul Ricoeur (1995), Emile Benveniste (1969), among others. We abode us analytically the task to better understand the testimony, taking the etymology of the word and its multiple associations, as well as relations with other art forms such as photography and painting. We move the concept to broaden its use for the analysis of cinematography related to the testimony of survivors of the Brazilian civil-military dictatorship. From this point, we tried to understand the constitution of the documentary and its link to the concept of performance and its uses in some areas of knowledge. The aim is to characterize what would be the performative documentary category created by Bill Nichols (2005), in order to identify possible extensions to this classification because the performative documentary as documentary mode is too broad and would need to further subclassifications to account for the specificities of the different types of documentaries. Therefore, the analysis of post 64-production corpus allowed us to concept leads, in order to produce a better understanding of the studied objects. So we created another form of performative documentary in order to study the documentary performative heroicizante, understood in the movies I am glad to see you alive (1989), Lucia Murat; and the eye of the hurricane (2003), Renato Tapajós and Toni Venturi Doutorado Teoria e Crítica Literária Doutor em Teoria e História Literária

Orientador: Fabio Nauras Akhras Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: A pesquisa estuda a obra documental do cineasta americano Errol Morris, que compreende o período de 1978 até os dias de hoje. Especificamente serão realizadas análises dos documentários The Thin Blue line (1988), Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr (1999) e The Fog of War (2003). A partir da relação entre cinema e sociedade, objetiva-se neste estudo compreender como o cineasta parte de seus personagens para investigar e promover discussões acerca dos problemas sociais e políticos da sociedade americana. Para tal compreensão, é necessário analisar as formas de construção fílmicas utilizadas pelo cineasta, tentando identificar táticas de distanciamento nesta construção Abstract: This research studies the documentary work of american filmmaker Errol Morris, which covers the period from 1978 to the present day. Specifically, will be conducted analyzes of the documentaries The Thin Blue Line (1988), Mr. Death: The rise and fall of Fred A. Leuchter Jr. (1999) e The Fog of War (2003). From the relation between cinema and society, this study aims to understand how the filmmaker starts from his characters to investigate and promote discussions about the social and political problems of american society. For this understanding, it is necessary to analyze the forms of filmic construction used by the filmmaker, trying to identify tactics of detachment in this construction Mestrado Multimeios Mestra em Multimeios FAPESP 2015/05850-8

The quantitative study is aimed to know whether documentary films can be applied to foster students' critical thinking skills. This research was conducted in Class X SMA Negeri 10 Sidenreng Rappang, with a total population of 72 students. Samples were drawn from the entire population by taking 2 classes, namely X IPA as an experimental group of 26 students and X IPS as a control group of 25 students. Data were collected through a critical thinking ability test instrument based on critical thinking indicators, then processed with data analysis using the Mean score (average) and SPSS 2.0. Results of the study showed that the experimental group, which were taught to use the documentary, obtain average value is higher compared with the controls group in fostering the ability to think critically, especially on the subjects of Indonesian with developing materials with the opinion of exposition text. Average score results in critical thinking skills with a documentary film is 91.76 with the results of a significant test of the test independent of 10.878 while the average score of the results that are taught without using documentary 70.84 with value significant 2.009. Based on the results of data analysis, this present study ascertained that documentary films could foster students' critical thinking skills.

Orientador: Marcius Cesar Soares Freire Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: O presente estudo se debruça sobre a construção do cinema de Jean Rouch, desde o seu primeiro contato com o mundo africano e as questões pelas quais ele iria se interessar durante a criação de seus filmes, até o estabelecimento do cinéma-vérité, movimento lançado na década de 60 e que propunha novas relações do cinema com o real. Abordamos aqui o interesse de Rouch em transitar entre fronteiras e de estabelecer ligações - ou diluições - entre procedimentos artísticos e científicos. Para levar a cabo tal estudo, escolhemos analisar um período de sua produção que começa com seu primeiro filme etnográfico, Au pays des mages noirs (1946-1947) até a realização de Chronique d'un été (1960). Dentro desse período está La pyramide humaine (1959), filme pouco estudado, mas cujas características especiais e únicas fazem dele uma ponte determinante entre as primeiras experiências com os assim chamados "filmes de improvisação", Jaguar (1954) e Moi, un Noir (1958) e a eclosão do cinéma-vérité, movimento que iria influenciar, de forma inelutável, o filme antropológico em especial, e o cinema moderno de maneira geral. Apoiando nossa reflexão, realizamos uma experiência de recepção de La pyramide humaine com jovens recrutados pela ONG Cine-favela, na Comunidade de Heliópolis, junto com estudantes de uma Faculdade de Cinema e também com uma atriz profissional. Esperamos que os resultados dessa experiência, somados às reflexões acima referidas, ajudem a melhor compreender a obra do extraordinário antropólogo-cineasta Jean Rouch, notadamente o período de sua carreira a que este estudo se dedica Abstract: This work is about the building of Jean Rouch's cinema, since his first approach to the African world and the questions that he would be interested when he has created his movies, till the happening of the cinema-vérité, a film movement of the 1960s that would propose new relations between the cinema and the real. We broach Rouch's interest in walk over frontiers and to establish contacts - or to dissolve it - between artistic and scientific procedures. To go on with this research, we have decided to analyze a period of his productions that begins at his first ethnographic film, Au pays des mages noirs (1946-1947) till the making of Chronique d'un été (1960). Inside this period it is La pyramide humaine (1959), one of his films less studied, but whose special characteristic make it a important bridge between his first experiences with the "improvisation films", Jaguar (1954) and Moi, un Noir (1958), and the emergence of the cinéma-vérité, a movement that it will influence, specially the anthropological film, but the modern cinema in a generic way. To support our reflections we have made a reception experience of the film La pyramide humaine with young people of the NGO Cinefavela, in the community of Heliópolis, together with the students of a Cinema University and a professional actress. We hope that the product of this experience, with the reflections about it, help us to comprehend the extraordinary work of the anthropological filmmaker Jean Rouch, specially in a moment of his work that is quoted here Mestrado Mestre em Multimeios

Orientador: Gilberto Alexandre Sobrinho Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Neste trabalho procura-se entender de que maneira a voz over aparece na produção audiovisual do documentarista João Moreira Salles, desde seus primeiros trabalhos para a extinta Rede Manchete de Televisão, passando por séries e programas realizados para o canal a cabo GNT e finalmente sua filmografia de longas-metragens. A pesquisa compreende o período que vai de 1987 a 2007, com análises de trechos narrados por diferentes vozes que constituem as escolhas estéticas de cada fase da obra do documentarista Abstract: The present paper has as a goal to understand how the voice-over occurs in the audiovisual production of the documentary filmmaker João Moreira Salles. This research covers from his early work for the extinct TV Network Rede Manchete de Televisão, going through TV series and TV programs for the cable network GNT and finally his filmography of feature films. This paper includes the analysis of short clips narrated by different voices, which constitutes the esthetic choices of each phase of the documentary filmmaker's work within the period from 1987 to 2007 Mestrado Multimeios Mestra em Multimeios

Orientador: Marcius Cesar Soares Freire Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Este trabalho tem como objetivo identificar estratégias do discurso no domínio documentário ou não ficcional a partir da análise de três filmes de diferentes épocas e suas particularidades metodológicas, abordando a formação histórica que os envolve. O principal critério para a escolha dos filmes, além do grande apreço que lhes tenho, foi o fato de terem como tema condições de vida em cenários de exclusão, quer seja por meio da marginalização ou da reclusão, de homens e mulheres em diferentes contextos sociais Abstract: This work's main purpose is to identify discourse strategies in the non-fictional domain based on the analysis of three movies from different moments and their methodological particularities, approaching their historical formation. The choice of the movies was carried out based on the fact they share the subject of life conditions in exclusion scenarios, whether it is by reclusion or marginalization, of men and women in different social contexts. Mestrado Mestre em Multimeios

The purpose of this paper is to focus on confession – understood as a literary genre – and propose, based on the inferred forms, how it can also be a cinematographic genre. It is divided into two parts: firstly, the paper will devise a profile of the practice of confession in connection with other writing practices, such as philosophy and poetry, which are opposing genres according to María Zambrano. Secondly, drawing on the established profile, the paper will comment on two films which represent the ambiguous and unreliable confessions of individuals that reveal their truths and doubts: Là-bas (2006), by Chantal Akerman, and Terra de Ninguém (2012), by Salomé Lamas Este artículo tiene por propósito acercarse a la confesión, entendida como género literario, y proponer, a partir de la forma mínima que pueda extraerse, en qué sentido puede ser también un género cinematográfico. Está dividida, por tanto, en dos partes: en la primera se intentará componer un perfil de la confesión en relación con otras formas de escritura, como la filosofía y la poesía, que ocupan en el pensamiento de María Zambrano lugares contrapuestos. En la segunda se comentarán, a partir de lo que se haya establecido, dos películas que presentan la confesión ambigua, errática, de sujetos que revelan sus dudas y certezas: Là-bas (2006), de Chantal Akerman, y Terra de ninguém (2012), de Salomé Lamas

Family and artistic background, Dayton, Ohio; assistant to Ralph Steimer, New York, N.Y., 1930; photographs in ARTS WEEKLY, 1930-31; Moscow correspondent, THEATRE ARTS MONTHLY, 1934-36; student and apprentice director under Sergei Eisenstein, editor for Eisenstein's essays and studies; assistant curator, department of film, Museum of Modern Art, New York, N.Y., 1936-40: film-acquiring trips abroad, development of Soviet film collection; cameraman, Workers Film and Photo League; film editor, Frontier Films, 1937: NATIVE LAND, MISSION TO MOSCOW, others; translator, THE FILM SENSE, 1941; editor, THE MOUSSORGSKY READER, 1947, books on Herman Melville, THE YEARS AND HOURS OF EMILY DICKINSON, 1960; catalogued Chinese Film Archive, Peking, 1959-64; work at Staatliches Filmarchiv in Berlin, Germany, 1964-69; professor of Cinema Studies, New York University, from 1974; history of film; reminiscences of many filmmakers and others in the industry

Childhood in Williamsburg, Brooklyn; family background; Brooklyn College B.A., 1936; first job at Gimbel's, 1930; full-time position at City College's Registrar's Office, 1936; involvement with Young Communist League in Boro Park; active involvement in College Teacher's Union; anti-fascist association in mid-1930s; Nazi-Soviet Pact; formed the band, "Suspended Swing," 1941; joined the staff of Local 1250, 1947; a member of 1199 in 1952 until retirement in 1982; National Convention, 1957; first experience in film-making, The 1199 Story, 1957; "Harvest of Shame;" Montefiore, 1958; the hospital legislation; march on Washington, D.C., 1963; Beth-El Strike; Bronxville Strike, April, 1965; AFL-CIO Convention, 1967; First National Labor Conference against the war, Chicago, 1968; Charleston Strike, 1969; Executive of Bread and Roses since 1978; Executive Secretary of National Hospitals' Union, 1982-1983; worked for the Local 342 in January, 1983; mergers of the unions, April, 1983; Dorris Turner Campaign, 1984; the hospital unions' strike on eve of the Democratic Party Convention, 1984

[spa] La presente tesis doctoral aborda e indaga las experiencias generadas en la realización de tres producciones colectivas audiovisuales con pueblos originarios en la región Andina del Ecuador. Donde, a partir de la posición tomada por los productores y los actores sociales, se constituye en un ejercicio político de intercambio de puntos de vista, constituyéndose así tres formas de ver y construir el documental; primero, un punto de vista de afuera hacia adentro, es decir, una elaboración de lo audiovisual desde la mirada externa desde productor audiovisual hacia la comunidad de Cotacachi-Imbabura (Inti Raymi-Hatun Puncha); segundo, de adentro hacia adentro, que hace referencia al audiovisual generado en un taller de niños y adolescentes en Saraguro, Gera-Loja, en la Agenda por el cumplimiento de los derechos de la niñez y adolescencia Kichwa, para recobrar la memoria histórica en las comunidades kichwas del sur del país: y, tercero, una mirada de adentro hacia afuera en la: “Primera Cumbre Agraria del Ecuador”, realizada en la ciudad de Quito y producida colectivamente, donde se visibiliza el trabajo organizativo de los pueblos originarios. Históricamente, desde la época feudal, la imagen que tienen los actores sociales y políticos sobre los pueblos originarios del Ecuador ha sido malentendida, debido a componendas coloniales heredadas. Esto ha generado en la colectividad un imaginario social hacia el indígena como un sujeto de segundo, tercero y hasta cuarto orden. Este pensamiento ha sido cómplice del intento de borrar de la memoria indígena (cosmovisión y cosmogonía) el materialismo histórico. Lo que lo ha llevado a una posición de sujeto neutral y pasivo. Es así como la historia tergiversada y narrada, junto a la llegada de gobernantes autodenominados progresistas en la región, han consolidado una representación de los actores sociales como sujetos pasivos, que no construyen su propia historia. De esta forma, se asume parte de su simbología como un recurso proselitista y populista, utilizado como un objeto de folcklor. lo que lo sitúa dentro del esquema demagógico de la pornomiseria. En esta investigación se aborda el papel que juegan los actores sociales en las producciones audiovisuales y narrativas, develando la hegemonía cultural que ha negado mostrar y ubicar su voz en el lugar donde debería estar. La investigación se llevó a cabo entre los años 2015 y 2020 y constó de tres etapas: La primera, de indagación teórica, metodológica y la entrada al campo, para combinar la teoría con la práctica y elaborar el marco teórico; la segunda, el trabajo de campo metodológico de acción-participación y, paralelamente, la producción de microdocumentales, como parte del registro de la memoria; finalmente, la devolución a las comunidades de los audiovisuales trabajados, que ahora forman parte del registro de la memoria. lo que resulta en el desarrollo de nuevas nociones y conceptos que sean una herramienta para entender al audiovisual de una forma científica y filosófica (dialéctica) desde los sectores oprimidos., [eng] The present doctoral thesis deals with and investigates the experiences generated in the realization of three collective audiovisual productions with native peoples in the Andean region of Ecuador. From the position taken by the producers and social actors, it constitutes a political exercise of exchange of points of view, thus constituting three forms of seeing and constructing the documentary: first, a point of view from the outside in, that is, an elaboration of the audiovisual from the external viewpoint of the audiovisual producer towards the community of Cotacachi-Imbabura (Inti Raymi-Hatun Puncha); second, from the inside out, which refers to the audiovisual generated in a workshop for children and adolescents in Saraguro, Gera-Loja, referring the Agenda for the fulfillment of the rights of Kichwa children and adolescents, to recover the historical memory in the Kichwa communities of the south of the country: And third, an inside-out look at from the “First Agrarian Summit of Ecuador,” held in the city of Quito and produced collectively, where the organizational work of the indigenous peoples is made visible. Historically, since feudal times, the image that social and political actors have of Ecuador’s native peoples is misunderstood due to inherited colonial arrangements. This idea generated in the community a social imaginary towards the indigenous as a second, third, and even fourth-order subject. This thought is an accomplice that attempts to take off the historical materialism from indigenous memory, locating him in a position of a neutral and passive subject. That is how the distorted and narrated history, together with the arrival of selfstyled progressive rulers in the region, have consolidated a representation of social actors as passive subjects who do not build their memoir. In such a way, part of its symbolism is assumed to be a proselytizing and populist resource. It is used as an object of folklore which places it within the demagogic scheme of pornography. This research addresses the role played by social actors in audiovisual and narrative productions, revealing the cultural hegemony that has denied showing and placing their voice where it should be. The research was carried out between 2015 and 2020, consisted of three stages: The first, of theoretical and methodological research and the entry into the field, to combine theory with practice and elaborate the theoretical framework; the second, the methodological fieldwork of action-participation and, in parallel, the production of micro-documentaries, as part of the memory register; finally, the return to the communities of the audiovisuals worked on, which are now part of the memory register. This results in the development of new notions and concepts that are a tool to understand the audiovisual in a scientific and philosophical (dialectic) way from the oppressed sectors.

Parents and schooling, New York, N.Y.; film examiner, Exhibitors Film Exchange, 1934-35; film editor and cameraman, Seiden Motion Picture Company, 1935-37; work at toy films company and film labs, 1938-41; assistant timer and film edtor, Deluxe Film Laboratories (division of 20th Century-Fox), 1941-43; film editor, United States Army Signal Corps Photographic Center, 1943-45: WHY WE FIGHT training films; film editor and director, RKO-Pathe 1945-51: THIS IS AMERICA; film director and editor, National Broadcasting Company 1951-57: VICTORY AT SEA, PROJECT XX, WISDOM, film scores; film producer Columbia Broadcasting System, 1957-76: 20TH CENTURY, 21ST CENTURY, series' sponsorship; independent productions, 1977-80, including THE UNKNOWN WAR, film budgeting and work schedules; European film procurement network; modernized cinematic technology; replacement of documentary by magazine format; TV critics; responsibility of television to the public

Childhood and family; pilot in World War II; writer for LIFE magazine; Nieman Fellowship at Harvard; filmmaking influences; "direct cinema" vs. "cinema verite"; early films for TIME/LIFE including "Primary"; technical advances in mobile candid sync sound filmmaking; Drew Associates: production of films for ABC, TIME, the Bell Telephone Hour, particularly "Yankii, No" "Eddie", and films about John F. Kennedy, commercials, independent and industrial films; views on past and present documentary work Mrs. Drew particpated in the first two interview sessions

This paper rehearses a debate with Stacie Friend on the nature of the fiction/non-fiction divide. The paper first puts in a sharper focus the dividing issue, arguing that it is ontological in character. It focuses on how the distinction emerges in films, by contrasting fiction films with documentaries; Friend has also discussed films, even though the debate has mostly studied the literary case. The medium does not affect the main issues, but it raises interesting questions. After highlighting two important points of agreement with Friend, in contrast with some other proponents of a similar view on the present debate like Currie, the paper offers a normative account of the distinction, offering reasons to prefer it to Friend's.

Más deconstrucción menos discriminación, es un documental que analiza la discriminación a personas no binarias, que son parte de la comunidad LGBTQI. Por medio de entrevistas a expertos y a personas no binarias, se informa sobre lo que es ser no binario, se analiza la educación dentro del país y la sociedad binaria heteronormativa en la que vivimos, que desencadenan la discriminación. Así mismo, se trata de crear conciencia ante la ignorancia que existe actualmente frente a estas personas.

El Perú es un país reconocido por sus variadas expresiones culturales, siendo las principales el turismo y la gastronomía, las cuales son referidas constantemente como símbolo de la identidad peruana a través de diversos medios, destacando el publicitario. Los elementos que definen la peruanidad ante el mundo, se reducen a unos sights que son comercialmente atractivos, como Machu Picchu y el ceviche por ejemplo. En este documental, nos enfocaremos en un aspecto que permanece subyacente dentro de todas estas expresiones culturales, la gente. Específicamente en la capacidad de resiliencia del peruano, que frente a situaciones adversas ha logrado salir adelante a base de constancia y lucha, a través del testimonio de Carlos (35), paratleta olímpico y Dajhaly (15), cantante con cáncer.

Con esta marca tan habitual en la música en directo, pero que no se suele escuchar en los discos, comienza Daikiri Blues (Sony, 2009). Es el tema que dio nombre al octavo disco del músico madrileño Quique González. Artista que ya anteriormente había huido del “rugido” y la electricidad habitual del rock and roll para acercar a sus oyentes su poesía envuelta en música. Música íntima cargada de matices.

Aquest treball és la investigació prèvia i l’escriptura d’un primer guió de documental sobre el tema de la violència sexual que existeix en el context d'una relació sentimental, amb l’objectiu últim de situar la reflexió sobre aquest tipus de violència en el centre del debat públic

Este trabajo pretende explicar los procesos llevados a cabo para la realización de una película documental amateur, titulada La Memé, basada en la vida de la abuela del autor

Interactive documentaries have been growing in number and importance on the international scene in numerous fields and markets. Interactive documentaries entered the field of health about a decade ago, and since then they have proven to be a worthwhile tool for exploring various health issues, such as living with HIV. More recently, experts and academics have started to explore interactive documentaries dealing with a newly emerging topic: stigma. Stigma can be defined as the establishment of a 'mark' or characteristic identified as deviant and rejected by society. Stigma has negative consequences in every aspect of a person's life. When it comes to health, people with stigmatised conditions have the worst outcomes, a problem ultimately related to their own power and agency. There are many sources of stigma, but the structural sources are the least studied and have the biggest impact on health. The media and culture are two of these structural sources of stigmatization, and cultural trauma has been suggested as one of its mediators. This study seeks to examine interactive documentaries as a tool for raising awareness of the impact of HIV-related stigma and cultural trauma. To this end, it analyses two interactive documentaries, Vertical/Horizontal and The Graying of AIDS, focusing on the device, narrative, and textual elements used by these documentaries to deal with the impact of stigma in health, and elaborating on how these filmic pieces represent people living with stigma and whether that representation challenges or reinforces stigmatization.

El presente proyecto pretende abordar la temática de la violencia doméstica desde un enfoque positivo reflexivo, la intención principal fue encontrar una solución a la problemática planteada, es decir, no solo presentarla y documentarla para su reflexión; sino proponer la terapia alternativa de “medicina Ayahuasca” como una opción a la cual muchas víctimas de violencia acuden, sobre todo si han tenido algún tipo de acercamiento a los saberes ancestrales, para poder “sanar” heridas o bloqueos emocionales.

Por indicación del autor, el acceso al texto completo estará disponible a partir del mes de julio del año 2021. El proyecto se basa en un largometraje documental titulado “Mala Leche”, centrado en el devenir de una familia ganadera en Trujillo –y de su patriarca, llamado Raúl Santivañez Vivanco– y en el declive de sus actividades en el rubro lechero debido al creciente poderío del Grupo Gloria desde la década del 80. Actualmente, el proyecto se encuentra en una fase de diseño. El mayor reto para la realización de esta película reside en hallar empresas privadas que la financien y encontrar asesores que revisen el guion y la propuesta en líneas generales. El factor clave de este documental es Raul Santivañez Vivanco, personaje principal de la película, gran conocedor de la ganadería en el Perú y ex presidente del Fondo Ganadero de la Libertad (FONGAL) –cargo que desempeñó durante más de 10 años–. Esta sería la primera vez que se recopile toda su historia. Otro aspecto que debe tomarse en cuenta es el género de este documental –denominado “autorreferencial”–, pues se basa en las perspectivas y las experiencias familiares del director. Esta cualidad es de gran valor, ya que puede aportar una visión más cercana a los hechos narrados en la pieza y generar mayor empatía en la audiencia Trabajo de investigación

En el marco de la de violencia doméstica, para la realización de este documental se ha elegido tratar el tema de la violencia psicológica hacia el adulto mayor. A raíz de la investigación realizada se identificó que no se habla de este grupo susceptible a ser víctima, en comparación de la violencia hacia los niños o de género en el hogar, porque son personas que por su posición susceptible, vínculos emocionales o de culpabilidad, no lo denuncian.

Aborda un proyecto documental sobre la violencia doméstica desde los testimonios de dos mujeres sobrevivientes: Emperatriz y Juliana. Desde sus similitudes y diferencias, narran las experiencias que vivieron en sus ex matrimonios, cómo ingresaron al círculo de violencia y qué fue lo que las motivó a cambiar sus vidas. Las entrevistas descubren el sufrimiento humano y cómo la violencia cercena la autoestima de las victimas hasta incapacitarlas.

Realiza un documental para mostrar las diferentes visiones generacionales de la mentalidad femenina respecto a la violencia psicológica en las relaciones de pareja. Plantea la evolución de dicha mentalidad en el ámbito social y personal.

The study of visual content using qualitative methods currently involves much scholarly work in the field of digital humanities. Documentary films are considered among those objects defined as visual content and are therefore not the focus of most attention within Film Studies. One of the best-known researchers in this area, Bill Nichols, proposed a theoretical classification of six documentary voices that is widely recognized in academic circles. However, the classification is based on induction and intuition which, until now, have not been verified in accordance with the evidence. This study proposes a mixed qualitative and quantitative methodology that allows the authors to surpass Nichols’ model and generate a new classification based on empirical criteria. To that end, they study the opinions of users of and experts on Nichols’ theory through the card sorting technique borrowed from cognitive science that is based on multivariate statistics. In this way, they generate a hierarchy of formal cinematographic elements grouped into four documentary voices and Nicholas’ classification proposal is partly replaced as two of the voices in his model disappear but the four others are confirmed. In addition, this new model allows the authors to determine which formal elements are assigned to each one of the confirmed documentary modes and with what relative weights, thereby opening up the possibility of generating a predictive model. The article therefore demonstrates that cluster analysis and other techniques borrowed from multivariate statistics can be used to empirically and quantitatively verify theories in film studies as well as in other areas such as poetics. This suggests that it is possible to verify empirically and use quantitative models for the study of visual content and complement other methods based on induction and intuition.

MA (Communication), North-West University, Potchefstroom Campus, 2019 Klank vorm ’n integrale deel om die narratief van ’n rolprent te struktureer. Klank in hierdie verband dra nie net inligting oor nie, maar skep ook saam met beeld ’n bepaalde stemming. Dit geld veral vir klank wat as ekstra-diëgeties bestempel kan word. Anders gestel, ekstern aanvullende klank wat nie ontbeerlik vir die narratief is nie, maar noodsaaklik is om stemming en atmosfeer te skep. Ekstra-diëgetiese klank word as stemmingskepper in alle rolprente gebruik, narratief (fiktief) sowel as dokumentêr. Dokumentêre rolprente word as genres of modusse onderskei op grond van stylkenmerke waarvan die model van Bill Nichols die bekendste is. Nichols se model-indeling is toegepas vir die ses bekroonde en ikoniese dokumentêre rolprent keuses vir hierdie studie-ontleding, naamlik SAMSARA (poëtiese modus), March of the Penguins (verklarende modus), Central Park (waarnemende modus), The Cove (deelnemende modus), Catfish: The Movie (refleksiewe modus), en Bowling for Columbine (performatiewe modus). Hierdie studie het ondersoek ingestel na hoe die verskillende modusse ekstra-diëgetiese klank gebruik. Die resultate toon eerstens dat in die algeheel beskou, meer diëgetiese as ekstra-diëgetiese klank gebruik is. Dit beteken dat in die algeheel beskou, die klankbane meer uit dialoog/onderhoude, omgewingsklank, en aanbieding/vertelling bestaan. Tweedens is bevind dat ’n beduidende ooreenkoms tussen die stylkenmerke van die modus en die gebruik van klank bestaan. Prominente voorbeelde is SAMSARA wat oorwegend ekstra-diëgetiese musiek gebruik, Central Park wat geen ekstra-diëgetiese klank gebruik nie, en March of the Penguins wat die enigste van hierdie dokumentêre films is wat van ekstra-diëgetiese vertelling gebruik maak. Laastens is aangetoon dat ekstra-diëgetiese musiek, behalwe in die geval van Central Park, deur die rolprente gebruik word om stemming te skep. Sound forms an integral part in structuring the narrative of a film. In this regard, sound does not only convey information, but also creates a particular atmosphere with a specific mood. This is especially true in the case of extra-diegetic sound. Correspondingly, it can be explained as extra external sound that is not indispensable to the narrative, but is necessary to create mood and atmosphere. Extra-diegetic sound is utilised as the mood creator in all films, whether narrative (fiction) movies or documentaries. Documentary films are distinguished as genres or modes based on style features of which the model of Bill Nichols is best kwown. Nichols' model format has been applied to select six award-winning and iconic documentary films for this study analysis, namely SAMSARA (poetic mode), March of the Penguins (expository mode), Central Park (observational mode), The Cove (participatory mode), Catfish: The Movie (reflexive mode), and Bowling for Columbine (performative mode). This study has investigated how the different modes apply extra-diegetic sound. The results show first of all, that in general more diegetic sound than extra-diegetic sound are evident. This means that overall, soundtracks comprise more of dialogue and/or interviews, environmental sounds, and voice-over. Secondly, it was found that a significant similarity exists between the style features of a mode and the use of sound. Prominent examples include SAMSARA which uses predominantly extra-diegetic sound, Central Park that does not use extra-diegetic sound at all, and March of the Penguins which is the only of these documentary films that uses extra-diegetic voice-over. Finally, it has been shown that all documentary films, except in the case of Central Park, apply extra-diegetic music to create atmosphere or mood. Masters

"Gar Demia", es un documental que aborda el viaje de un paciente recién diagnósticado con la enfermedad de la Psoriasis, enfermedad inflamatoria y crónica de la piel, de origen autoinmune; en él se muestra desde mi perspectiva cómo voy encontrando personas en el camino que cuentan con el mismo diagnóstico, así mismo, se van presentando sus testimonios y dificultades de vivir con la enfermedad por el tiempo que lo lleven haciendo.

This article explores how contemporary cinema can serve as artistic means to reflect upon, and ultimately counteract, the Mafia’s cultural production of violence. It analyzes Pierfrancesco Diliberto’s La mafia uccide solo d’estate (2013) as a movie that, by thematizing the Mafia in a personal and biological manner, serves as a striking example of an anti-monument. Drawing on concepts from monument theory and documentary theory, the article shows how the movie’s anti-monumental form allows the spectators’ active sensitization to and purging of Mafia culture through the sacrificial blood of its victims. From such a perspective, La mafia uccide solo d’estate proves to be an essential movie to consider in the context of both the present negotiation of Italian identity linked to its most recent violent history, and the contemporary directions of Italian auteur cinema.

В статье выявляются и анализируются социокультурные характеристики провинции. Провинция становится точкой отсчета для рассмотрения образа деревенской провинции, отличной по своим признакам от городской провинции. Таким образом, традиционная дихотомия «столица – провинция» расширяется за счет введения еще одного смыслообразующего вектора. Автор встраивает деревенскую провинцию в цепочку оценочных характеристик, традиционно возникающих в данном сопоставлении: окраина, глушь, захолустье. При этом необходимо подчеркнуть, что подобный синонимический ряд является традиционным для сознания современного российского жителя. А в отношении столичного жителя к провинции в целом нужно говорить об устойчивости ценностной иерархии, где провинции вообще, а деревенской, в частности, отводится самые низкие ступени. Тем не менее, с точки зрения культурной самодостаточности представитель городской провинции может претендовать на определенное центральное положение по отношению к деревенскому статусу. В заданном ракурсе особое значение приобретает прочтение культурного текста провинции как знаковой системы. Любая деталь провинциальной жизни, в итоге, воспринимается лишь в контексте провинциальной культуры, вмещающей в себя и символику пространства, и возможность индивидуального прочтения, специфики ассоциативных связей. Образ провинции в документальном фильме режиссера С. Дворцевого «Хлебный день» вобрал все разнообразие социокультурной символики российской глубинки. Провинциальная жизнь заброшенного рабочего поселка оказалась вне времени и вне пространства. Но при этом участники событий, животные, пейзаж и даже детали подчеркнуто самодостаточны и гармоничны. И несмотря на абсурд жизненных реалий, в которых проявляется стереотипное восприятие провинции как глуши и захолустья, сохраняется особое очарование этой заброшенной жизни., The article reveals and analyzes the socio-cultural characteristics of the province. The province becomes the starting point for considering the image of a rural province, distinct in its features from the urban province. Thus, the traditional dichotomy of the capital-provinces, is widened by the introduction of yet another sense-forming vector. The author builds a rural province into a chain of evaluation characteristics that traditionally arise in this comparison: outskirts, wilderness, backwoods. At the same time, it is necessary to emphasize that such a synonymous series is traditional for the consciousness of a modern Russian citizen. And with respect to the metropolitan to the province as a whole, one must speak of the stability of the value hierarchy, where the provinces in general, and the rural one, in particular, are assigned the lowest levels. Nevertheless, from the point of view of cultural self-sufficiency, a representative of a city province can claim a certain central position in relation to the village status. In the given foreshortening, the reading of the cultural text of the province as a sign system acquires special significance. Any detail of provincial life, in the end, is perceived only in the context of provincial culture, which contains both the symbolism of space and the possibility of individual reading, the specifics of associative connections. The image of the province in the documentary film directed «Bread Day» by S. Dvortsevoi has absorbed all the diversity of sociocultural symbols of the Russian remote places. The provincial life of an abandoned working village turned out to be out of time and out of space. But the participants of the events, the animals, the landscape and even the details are emphatically self-sufficient and harmonious. And despite the absurdity of life's realities, in which the stereotypical perception of the province as backcountry and backwoods is manifested, the special charm of this neglected life remains.

Orientador: Pedro Paulo Abreu Funari Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas Resumo: O objetivo desta pesquisa é discutir as representações do Jesus Histórico e da Arqueologia Sírio-Palestina em determinados documentários televisivos. Partindo do pressuposto de que tais filmes têm como principal objetivo o convencimento do público, serão trabalhados conceitos como discurso, autoridade e representação. Outras discussões, como a questão do Orientalismo também tem um caráter de suma importância para o referido trabalho. A escolha dos filmes se deu por conta de seu alcance, produções e documentações trabalhadas nas composições dos discursos dos mesmos. De tal forma que, a partir dos filmes ¿ e pesquisa - houve a seleção das fontes antigas que deveriam ser analisadas de maneira mais minuciosa, para, afinal, traçar possíveis comparações entre as películas e uma pesquisa acadêmica Abstract: This research aims to discuss the representations of the Historical Jesus and Syrian-Palestinian Archeology in certain TV documentaries. Assuming that such films has as main objective the public's conviction, it will be worked questions like concepts, discourse, authority and representation. Other discussions such as the question of Orientalism also has a very important role for this work. The choice of those films was due because their reach, productions and the mode wich the documentations was worked on the compositions of their speeches. Thus from the films - and studies - there was the selection of the anciet sources that should be analyzed in a more detailed way, to work with possible comparisons between the films and the academic research Mestrado História Cultural Mestra em História CNPQ 130188/2015-8

Orientador: Marcius Cesar Soares Freire Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Através de uma análise crítica e reflexiva da produção contemporânea de documentários animados no Brasil e no mundo, este trabalho apresenta um entendimento sobre as potencialidades do uso de animação em narrativas não ficcionais e as contribuições do documentário animado para os debates do campo do cinema documentário. Para tanto, o ponto de partida da pesquisa foi a observação de que o hibridismo entre animação e documentário promove uma tensão proveniente da contrariedade entre esses dois formatos cinematográficos, uma vez que eles são duas formas narrativas tradicionalmente entendidas como opostas. Ao mesmo tempo que essa tensão torna o documentário animado um objeto estranho, especialmente ao campo do documentário, ela confere a esse tipo de produção uma potência narrativa relacionada a como ele desafia os conceitos mais ortodoxos de filme documentário. Além disso, o documentário animado apresenta maneiras pouco convencionais de se documentar aspectos do mundo, ampliando os recursos narrativos do cinema documentário. Este trabalho buscou também investigar o documentário animado a partir da abordagem semiopragmática do filme, proposta pelo teórico Roger Odin, analisando as particularidades de uma leitura fílmica documentarizante colocada em ação por um filme de animação. Dessa forma, nosso trabalho apresenta como o documentário animado pode documentar de uma maneira diferente ao fazer uso de imagens animadas e de estratégias narrativas que são próprias do cinema de animação e que não são comuns a filmes documentários Abstract: This work presents an understanding about the potentialities of using animation in nonfiction narratives and the animated documentary¿ contributions for the discussions in documentary cinema by performing a critical and reflexive analysis of the contemporary animated documentary¿s production in Brazil and worldwide. The starting point of our analysis is the observation that the hybridization between animation and documentary promotes a tension arising from the contrariety between these two cinematographic formats since they are two narrative forms traditionally understood as opposites. While this tension makes animated documentary a foreign object especially in the field of documentary, it gives this kind of production a narrative power related to how it challenges the more orthodox concepts of documentary film. In addition, the animated documentary features unconventional ways of documenting aspects of the world, expanding the documentary filmmaking¿s narrative tools. We also seek to investigate the animated documentary from the Semio-pragmatic approach of the film, proposed by theorist Roger Odin, analyzing what kind of documentarizing reading is put into action by an animated film. In conclusion, our work presents how the animated documentary can document in a different way by using animated images and typical narrative strategies from animation, which are not common in documentary films Doutorado Multimeios Doutora em Multimeios FAPESP 2012/08066-8

Màster Oficial en Gestió Cultural, Universitat de Barcelona. Facultat d’Economia i Empresa , curs: 2016-2017, Tutor: Ferran Cortès, Aquest Treball Final de Màster, que ha acabat sent molt més que això, sorgeix de la voluntat de posar en marxa accions concretes, que em permetin integrar algunes de les meves passions com són el cinema documental, la socialització del coneixement i la producció, i fer-ho en el context que millor conec i la ciutat on he crescut, Terrassa. En aquest projecte hi aporto d'una banda la meva la meva experiència en la realització i divulgació de cinema documental, i la seva utilització com a instrument de debat i de formació. En els darrers deu anys he participat en aquesta tasca exercint diferents rols: producció executiva, producció de camp, realització, direcció, càmera i distribució en una quinzena de documentals. I a més, durant quatre anys he estat coordinant a Colòmbia, una mostra itinerant de documentals, Derecho a Ver,que tenia com a objectius principals generar debat al voltant dels Drets Humans i dur el cinema documental a poblacions i col·lectius de l'àmbit rural i de la perifèria urbana on habitualment no hi ha accés a produccions audiovisuals d'aquest tipus. ...

This article analyses Jack Glenn and Louis de Rochemont's Inside Nazi Germany (1938), a screen magazine from The March of Time. The aim of this paper is to analyze Inside Nazi Germany as a public relations war effort of the 20th century. Arising from the informative and propagandistic strategy of late 1930s newsreels, this documentary was made using very appropriate narrative techniques to award it the dimension of objectivity and truthfulness characteristic of public relations messages, without losing sight of its educational and persuasive function. From this standpoint, Inside Nazi Germany constituted one of the clearest precedents of public relations war films in America.

In October 1957, John Grierson, the founder of the British documentary film movement, made the transition to a new medium: television. His series for STV, This Wonderful World, which ran in its original form until August 1965, introduced audiences to international documentary in an ‘inter-generic’ magazine format and was among the most popular broadcasts of the fledgling station, which was formed in August 1957 following the introduction of Independent Television (ITV) in 1954. This article analyses how cinematic documentarists made the transition to television and what their experiences reveal of the documentary's place in British society in the 1950s and 1960s. It argues that Grierson's series stood at the centre of debates over ‘prestige’ programming and ‘cultural uplift’, as well as over fears of the allegedly negative influence of ITV on the mass audience, and shows how British television negotiated an increasingly global media and the emergence of the modern television personality. It concludes with an examination of the legacy of early British documentary on television and demonstrates how its pioneers exploited the memory of the 1930s in order to carve out their place in the genre's history.

Treballs Finals de Grau d'Història de l'Art, Facultat de Geografia i Història, Universitat de Barcelona, Curs: 2015-2016, Tutor: José Enrique Monterde, El presente estudio consiste en el análisis de una tendencia que se está viendo cada vez con más frecuencia en el ámbito del documental cinematográfico. Esto es el film-ensayo o lo que puede denominarse como ensayo-documental que, a rasgos generales, se puede definir como la transmisión de la realidad a través de una visión personal y reflexiva. El trabajo se encarga, exclusivamente, del análisis de esta tendencia en aquellos documentales que tratan sobre arte.

Orientador: Fernão Vitor Pessoa de Almeida Ramos Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: O objetivo principal desta tese é mostrar a estruturação dos webdocumentários ¿ o que são, como são veiculados, seu funcionamento, principais autores e gêneros e como de fato se constituem. Parte-se da hipótese de que os documentários para web atendem a uma demanda social de interatividade com os meios, onde não existe mais um emissor e vários receptores, mas muitos emissores e receptores que não apenas consomem conteúdo, mas ao consumir também produzem, na interação. Esta dinâmica provoca um "modo de fazer" muito particular e polemiza questões como roteiro, autoria, papel do diretor, escopo de personagens constantemente abertos, linearidade, montagem, dentre outras. A tese propõe a existência de quatro modos de montagem em webdocumentários que criam um efeito de ruptura do conceito de duração fílmica: a montagem capitular, inovativa, entretiva e a libertária Abstract: The main objective of this thesis is to show the structure of web documentaries - what they are, how they are used, its operation, main authors and genres and how in fact it is constructed. It started from the hypothesis that the web documentaries meet a social demand and interaction with the media, where there is no longer a transmitter and multiple receivers, but many senders and receivers which not only consume content but in order to consume it they also produce it while interacting. The dynamic causes a particular "way of acting" very private and at the same time causes polemic because of the script author, copyright, director¿s role, constant selection of characters, editorial issues, assembly, among others. The thesis proposes the existence of four mounting modes for web documentaries, creating a breaking effect of the concept of the time for filming: a new setting, innovative, entertained and free Doutorado Multimeios Doutor em Multimeios

Orientador: Marcius Cesar Soares Freire Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Trinh T. Minh-ha é uma cineasta e intelectual vietnamita, radicada nos Estados Unidos desde os anos 1970. Possui formação acadêmica multidisciplinar, com estudos na área de composição musical, de etnomusicologia e de literatura comparada. Nas últimas décadas tem atuado com destaque em diversos campos da produção artística e também da produção acadêmica. Realizou oito filmes, entre médias e longas-metragens, montou cinco instalações multimídia e publicou quatorze livros, entre obras artísticas, coletâneas de roteiros e entrevistas e ensaios teóricos. Seus filmes provocam as convenções de diferentes searas fílmicas, transitando nos intervalos entre o documentário, o filme etnográfico, o cinema experimental e o cinema narrativo. Em sua produção, tanto intelectual quanto fílmica, encontramos questões que atravessam de um campo a outro, subvertendo as fronteiras e criando intersecções entre a teoria e a prática de modo a questionar os lugares determinados entre saberes, relacionando as artes e as ciências de modo inovador. Seus temas de interesse giram em torno das formas de representação da diferença cultural, a condição feminina e questões de identidade. Nossa pesquisa se debruça sobre seus filmes propondo um duplo movimento de relacionamento: um primeiro que vem da teoria em direção aos filmes, para investigar como as estratégias inovadoras utilizadas em seu cinema dialogam com a teoria social, de modo a pensar outros marcos na relação entre o cinema e antropologia. O segundo parte dos filme em direção à teoria do cinema, mais precisamente a teoria dedicada ao cinema documentário, para analisar como seus filmes podem contribuir para expandir o debate sobre esse domínio cinematográfico por oferecer contribuições originais e desafiadoras em relação aos pilares essenciais desse tipo de cinema, que são aqueles ligados às estratégias de filmagem e à relação entre quem filma e quem é filmado. Entendemos seus filmes como casos exemplares que nos permitem pensar o cinema documentário em sua plenitude poética e que contribuem de modo original em relação àquela que talvez seja a grande contribuição da tradição do documentário para o cinema, a questão ética. Para investigar uma produção tão desafiadora e questionadora dos cânones tradicionais das áreas com as quais dialoga, nosso referencial teórico está constituído a partir de contribuições vindas do campo da antropologia, da teoria do cinema e das artes Abstract: Trinh T. Minh-ha is a filmmaker and Vietnamese intellectual, rooted in the United States since the 1970s has multidisciplinary academic education with studies in musical composition, ethnomusicology and comparative literature. In recent decades it has worked prominently in various fields of artistic production and also the academic production. Held eight films, including medium and feature films, he has set up five multimedia installations and published fourteen books, including works of art, collections of scripts and interviews and theoretical essays. His films provoke the conventions of different filmic cornfields, moving in ranges between documentary, ethnographic film, experimental cinema and narrative cinema. In its production, both intellectual and filmic, we find issues that cross from one field to another, subverting the boundaries and creating intersections between theory and practice in order to question the places determined between knowledge, relating the arts and innovative way science . His topics of interest revolve around the forms of representation of cultural difference, the female condition and identity issues. Our research focuses on his films proposing a dual relationship of movement: a first that comes from theory toward the movies, to investigate how innovative strategies used in your movie dialogue with social theory, to think other milestones in the relationship between cinema and anthropology. The second part of the film toward the film theory, specifically the theory dedicated to documentary cinema, to analyze how his films can help to expand the debate on the cinematic domain by offering unique and challenging contributions from the essential pillars of this kind of cinema, which are those linked to filming strategies and the relationship between who films and who is filmed. We understand his films as exemplary cases that allow us to think the documentary film us in his poetic fullness and contribute in an original way in relation to what may be the great documentary tradition of contribution to the cinema, the ethical question. To investigate a production so challenging and questioning the traditional canons of the areas with which dialogue, our theoretical framework is formed from contributions coming from the field of anthropology, film theory and the arts Doutorado Multimeios Doutor em Multimeios FAPEAM

En la relación entre cine y pintura caben dos grandes opciones: el tratamiento cinematográfico que el artista y su obra hayan experimentado y la influencia que esa obra pudiera ejercer en ciertas producciones fílmicas. En la primera se determinan tres ámbitos: el documental, la ficción y el ensayo, mientras que la segunda resulta mucho más abierta e incluso opinable, explícita o implícita, referida a aspectos temáticos o formales. El objetivo del presente artículo es analizar cómo se han desarrollado esas opciones en relación con la figura y la obra de Hieronymus Bosch, ya sea en el marco de la trayectoria histórica del documental o «film de arte», de sus derivaciones hacia el ensayo fílmico, o de las diversas posibilidades que ofrece la ficción fílmica, desde el inexistente film biográfico hasta la inspiración temática y formal o la inserción de sus obras en diversas películas., In the relationship between cinema and painting there are two great alternatives: the cinematic treatment that the artist and his work have experienced, and the influence that this work might have on certain film productions. The first encompasses three areas: documentary, fiction and essay, while the second is much more open and even debatable, expressly or implied, relating to formal or thematic aspects. How those options have been developed in relation to the figure and work of Hieronymus Bosch is the purpose of this article, whether in the context of the historical trajectory of documentary or film art, of its branches to the film essay or the various possibilities of filmic fiction, from the nonexistent biopic to formal and thematic inspiration or the inclusion of his work in various films.

Es constatable la existencia de un periodo del cine español casi olvidado, pero de suma importancia en la configuración de nuestra memoria histórica visual. Se trata de aquel que construye su idiosincrasia en la clandestinidad, cuyas producciones militantes s in licencia comercial de exhibición se distribuyen entre una red de centros sociales y cineclubs durante los últimos años de la dictadura franquista (1970 - 1975). Estos films, eminentemente colectivos, constituyen uno de los puntales del movimiento político antifranquista por cuanto se gestan, se ruedan y distribuyen en su seno. Pero a su vez, representan aspectos consustanciales de las luchas sociales y los modelos políticos de organización colectiva que impulsaron el camino hacia la democracia frente a la caduca y represora dictadura franquista. Paradójicamente, en la actualidad la mayoría de estas imágenes no son conocidas por estos filmes, sino por su inclusión posterior en series documentales televisivas realizadas en la década de los ochenta. Estos prod uctos audiovisuales televisivos han contribuido a fijar en la memoria visual colectiva una serie de imágenes - icono que condensan la esencia del discurso del consenso promovido precisamente desde los medios institucionales, como mecanismo para pulir, dirigi r y condicionar el significado de las imágenes de las luchas sociales antifranquistas. Por ello, es necesario denunciar l as operaciones de apropiación discursiva a las que se han visto sometidas, en una constante reescritura llevada a cabo en este tipo de trabajos sobre la transición política españ ola, como demuestra la serie La Transición Española dirigida por Elías Andrés y Victoria Prego. En estas aproximaciones periodísticas l a representación de la llamada Transición española como un proceso acabado, perfecto, sin aristas ni posibles interpretaciones, a través del falso discurso del consenso, choca frontalmente con la versión que se desprende de los filmes producidos colectivamente en el periodo, en los que se cuestiona, entre otras cosas, la representatividad y la legitimidad del naciente sistema político. El programa infame de re - interpretación al que se han visto abocados sus filmes, en línea con la imagen beatífica de la Transición y la supuesta centralidad del papel del Re y en la consecución de la democracia, demuestra que, aún hoy, queda mucho trabajo por hacer, casi tanto como entonces. RAZÓN Y PALABRA Prim era Revista Electrónica en Iberoamérica Especializada en Comunicación http://www.revistarazonypalabra.org/ COMUNICOLOGÍA ECUATO RIANA | NÚMERO 92 | DICIEMBRE 2015 – MARZO 2016 | ISSN: 1 605 - 4806 | PP. 6 2 4 - 6 3 4 625 It is evident that there is a period o f Spanish cinema almost forgotten, but very important in shaping our visual historical memory. This period builds his idiosyncrasies in secrecy, whose militant productions without business license display are distributed among a network of social centers a nd film clubs during the last years of the Franco dictatorship (1970 - 1975). These films, eminently collective, are a mainstay of the anti - Franco political movement because they are created, rolled and distributed within it. But in turn, they represent inhe rent aspects of social struggles and political models of collective organization that led the way towards democracy over the outdated and repressive Franco dictatorship. Paradoxically, at present most of these images are not known for these films, but for subsequent inclusion in television documentary series made in the eighties. These television audiovisual products have helped to establish in the collective visual memory a series of images - icon that condense the essence of the speech promoted consensus pr ecisely from the institutional means, as a mechanism for polishing, directing and conditioning the significance of the images of struggles antifrancoist social. It is therefore necessary to denounce the operations of discursive appropriation to which they have been subjected, in a constant rewriting carried out in this type of work on the Spanish political transition, as demonstrated by th e series The Spanish Transition directed by Elias Andrés and Victoria Prego. In these journalistic approaches the repres entation of the Spanish Transition as a finishing process, perfect, without edges or possible interpretations, through the false discourse of consensus, at odds with the version that emerges from the films produced collectively in the period, which is ques tioned, among other things, the representativeness and legitimacy of the emerging political system. The infamous program of re - interpretation that have been pushed his films, in line with the beatific image of the Transition and the supposed centrality of the role of the King in achieving democracy, shows that even today remains much work do almost as much as then.