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Alma de papel: proposta conceitual para um curta-metragem de animação stop motion em devir
(Universidade Federal do Pará, 2017) RIBEIRO, Brena Gomes; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
In this research, I present a study about the process of creating a conceptual proposal for the production of a short stop motion animation, called Alma de Papel. The various stages of this study include the experience provided by the Curro Velho Workshops, where I got in touch with the techniques and materials used in the proposal. There is also a short description about the history of Animation Cinema, with the contribution of concepts provided by authors whose analyzes approach the symbolic sphere of the history of cinema, as Arlindo Ribeiro Machado for whom the cinema materializes a millenarian movement of "representation of the imaginary", and Edgar Morin that exposes the semi-imaginary reality of man. The research methodology dialogues with the "nocturnal" face of the French philosopher Gaston Bachelard, that is, his "metaphysics of the poetic imagination" and his systematic investigation of the genesis of the poetic image based on the archetypes of the four elements of nature (air, water, earth and air), to which I add one more element (ether), besides including the influence of the Dilatador Elemental device created in the subject Movimento Criador no Ato Teórico, and the values attributed by Italo Calvino to poetry, for the systematization of this study. Sônia Rangel and Cecília de Almeida Salles appear in the investigation to talk about the creation process and its relation with the reality lived by the author. To carry out the present work, I admit, as a primary objective, to demonstrate the connection between the modus operandi of creating the conceptual proposal of a film, that is, the methodological procedures used in its making, and its consequent historical-social context experienced by its creator (s), a context that is fully amalgamated with the becoming of their imaginary.
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O cinema de luta dos Mêbengôkre-Kayapó: as múltiplas dimensões de resistência nos filmes e práticas de produção do Coletivo Beture
(Universidade Federal do Pará, 2024-08-30) GOMES, Angela Nelly dos Santos; LAGE, Leandro Rodrigues; http://lattes.cnpq.br/2396184188116499; https://orcid.org/0000-0002-6814-9640
This research reflects on the cinema produced by Mebêngôkre-Kayapó indigenous filmmakers, focusing on the films and production practices of the Beture Collective, which brings together filmmakers from this ethnic group in the state of Pará, Brazil. The aim is to understand how the cinema of the Beture Mebêngôkre-Kayapó Collective expresses dimensions or meanings of resistance through its works and filmmaking practices, in relation to the socio-political or cultural struggles of the ethnic group. In order to understand how cinema is appropriated and transformed into an ally in these struggles, and in what dimensions this occurs or is expressed, we analyzed the works of the Beture Collective that are representative of their production; we observed and analyzed the group's production practices in an attempt to understand how they relate to the resistance processes of the Mebêngôkre people; what the motivations and objectives of filmmaking are and how the Beture Collective appropriates techniques, technologies and cinematographic or audiovisual language and adapts them to their objectives according to their worldview. This is a qualitative study developed through film analysis and field research with open-ended interviews and observational participation. The theoretical framework is interdisciplinary in that it combines film and image studies with Latin American criticism from the perspective of decolonial studies, as well as concepts related to indigenous studies from anthropology, sociology and geography, which converge with the subject of the research, in order to understand the meanings of resistance that are expressed, constitute or cross Mebêngôkre cinema. The research highlights the complexity of Mebêngôkre cinema and the Beture Collective, which is born and develops in a way that is intertwined with the sociopolitical and cultural issues of the ethnic group and indigenous peoples as a whole. We conclude that the cinema of the Beture Collective is a cinema of struggle, a multifaceted practice of resistance, since it is born and develops intrinsically to the struggles for rights in various senses, for the preservation and demarcation of territories, for affirmation as a producer of their images, narratives and memories, and presentation of their ways of seeing and being in the world. A cinema that is also mediation in the complex ethnic and intercultural interrelationship with indigenous and non-indigenous society.
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O cinema de Vicente F. Cecim nos anos 70
(Universidade Federal do Pará, 2016-07-06) CONCEIÇÃO, Alexandra Castro; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
This memorial is about my creative process of the cinematographic works of Vicente Cecim in the 70s. The search was based on Vicente Cecim literature and two interviews: one with the main artist of this work and another with Prof. Dr. João de Jesus Paes Loureiro. The objective of this research is a development of a documentary of a critical analysis about the films directed by Vicente Cecim in the 70s. This work has a first general objective: introducing the filmmaker Vicente Cecim in his multiple activities – his thoughts, ideas and experiences as well as their films. As specific objectives this work will try to describe the ways he uses on his creative process and analyze esthetic and artistic form of the film production of Vicente Cecim in the 70s. The methodology used is the phenomenology and the empiricism starting on a documentary about Vincent Cecim and also a memorial. For theoretical basis the following authors are the references: Consuelo Lins, Milton Ohata, Gilles Deleuze, Andre Bazin, Pedro Veriano, Jacques Aumont; Andrei Tarkovski, Gilbert Durand.
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Cinema e literatura: o trânsito intersemiótico em “Bonitinha, mas ordinária”, de Nelson Rodrigues
(Universidade Federal do Pará, 2013-06-28) MARIA, João Leno Pereira de; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
Literature and cinema, sign production, whose relation becomes possible because (among other many possibilities) of Visuality printed in both textual modes, allows the literary text transformation movies. Today is not that the film uses other gear or other signs for the construction, reconstruction, creation and filmic recreation. In contemporary times, this process is called of intersemiotic translation, is so unusual: If before the cinema if value of literature as hipotexto, this time, the literature is the cinema for its creation-verbal narrative. Our corpus analysis of the films will be "cute but ordinary", directed by JB de Carvalho, Braz Chediak and Moacir Goes, based on the play's namesake playwright Nelson Rodrigues.
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O Cinema ficcional de Líbero Luxardo
(Universidade Federal do Pará, 2013-06-28) CASTRO NETO, Advaldo; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
The dissertation The Fictional Cinema Libero Luxardo, from the history of Brazilian cinema, studies the cinematic representations of Libero Luxardo, specifically its three fiction films Um dia qualquer; Marajó, barreira do mar and Brutos Inocentes, produced in the Amazon state of Pará, in the 60s and 70s of the twentieth century. Belém, Marajó and, in general, Amazon do, even so slight, part of this discussion because they are represented in the film text. Divided into four chapters, we analyze scenes, contexts, language of film and other topics relevant to the research, which intertextlizing with other texts of artistic, as literature, design and popular song, contextualized in the historical process and social geographically located in the Amazon. This work is a reflection on those representations and provides theoretical basis-historical study of several sources for analysis of cinema Libero Luxardo, among them Pedro Veriano (1983, 1999, 2006, 2008), J.J. Paes Loureiro (1965, 2008), Acyr Castro (1965, 1986), Sidney Leite (2005), Paulo Emílio Sales Gomes (2001), Joseph Mascelli (2010), Christian Metz (1973, 2010), mainly with respect to the movies. Marcio Souza (1994), Violeta Loureiro (1992), Leandro Tocantins (1982, 1987), among others, with respect to Amazon.
Acesso aberto (Open Access)
A crise da palavra no centro do drama: uma leitura de Eu sei que vou te amar de Arnaldo Jabor
(Universidade Federal do Pará, 2012) MATOS, Bruno Sérvulo da Silva; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
Literature and cinema are two distinct fields of sign production whose relationship may become possible because of visuality present in both languages. It is not today that the film makes use of other languages and/or other signs to the construction, reconstruction, creation and recreation film, causing thus the emergence of a hybrid material. However, at present, this process of influence/exchange also occurs in the opposite way: if before the film is worth of literature as hipotexto this time, the literature can make use of cinema for its creation narrative-verbal. The corpus of analysis will be the film and novel by I KNOW THAT I WILL LOVE YOU filmmaker, writer, journalist and critic whose works explore Arnaldo Jabor language cinematic art form and can also, at the same time developing his literary and poetic nature, thus demonstrating that literature can be influenced by the cinema. The references are included for analysis in semiotic studies that permeate the film and literary theory. Far will, therefore, analysis of language (literary and filmic) employed by the director/writer and his final artistic product.
Acesso aberto (Open Access)
Do cinema à educação: trânsitos musicais na concepção de videoaulas
(Universidade Federal do Pará, 2016-06-16) SAMPAIO, Nilze de Sá; SOUZA, Erasmo Borges de; http://lattes.cnpq.br/5387951750537371; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
This research aims to study the musical conception of video lessons from the musical movie uses, using as main reference the knowledge of Michel Chion , through the works "The audiovision" (2011) and "La music en el cine" (2014). Also underlie this study, with regard to: the structure of film language, Martin (2013) e Mascelli (2010); the discursive semiotics, Barros (2005) e Souza (2015, 2008, 2006); the art and education, Duarte (2000); the distance education, Litto (2010), Santos, Fassbender e Evangelista (2015) e Moran (2002); the video lesson, Santos, Fassbender e Evangelista (2015), Moran (1995, 2009, 2015), Anderson e Dron (2011, tradução 2012), Mattar (2014), Filatro (2009), Silva (2015), Spanhol e Spanhol (2009), Vargas, Rocha e Freire (2007). This research may be justified by the change that occurred in education, strongly influenced and energized by information and communication technologies, and also the need to unite the aesthetic education in search of teaching- learning processes that consider the human particularities, including the size of the feeling within this process. For the analysis, the researcher used the generative course of meaning, as the discursive semiotics, and two instruments created by the researcher, the sound / musical map and synthetic list of musical uses. In general, the sound`s/music`s Map sought to identify its discourse and educational issues. In a specific way, musical aspects such as the question of sound dominant, the musical uses and points of use, and synchronization of music in the production of meaning. In the synthetic list of musical uses, the investigator presented musical uses second Chion, the description and their exemplification, including referral links on the internet. Also, the investigator aided in the analysis a set of video classes typology, where similarities were identified in the video classes of structures available on the internet, coming to the following classification: informative video lesson/instructional, educational video lesson classroom model and educational video lesson with post- production capabilities. Through this knowledge we sought to clarify the issue of "How music can be used in the design of video classes, from its uses in the movies”? After the analysis, the investigator noticed that the presence of music varies according to the type of video lesson and its time of use. Thus, in the video classes with greater variety of discursive resources, such as the types video lesson informative/instructive and educational video lesson with post-production resources, the investigator noticed a greater presence of music for the materialization of speech. Conversely, the video classes with less variety of these resources, there have been a minor musical presence, as the educational video lesson type classroom model. In general, when the music is designed in the design of video lesson, there ia also a greater possibility of use than when worked into video lesson already recorded. These are working processes differences, but that should be directed to the use of music for reiteration and materialization of speech. The most common musical uses were: continuity e movie streaming; symbolic representation; continuity and discontinuity of sound plans; synchronization; temporality of the image; coestruturação and coirrigação; and moving images. Given the above, the investigator concluded that music is an educational resource. Also, a discursive feature video lesson that can be used for its coestruturação and fundamental audiovisual issues, providing an aesthetic education.
Acesso aberto (Open Access)
Os espectadores: história, sociabilidade e cinema em Belém do Pará na década de 1950
(Universidade Federal do Pará, 2016-09-15) CARNEIRO, Eva Dayna Felix; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
The sociabilities constituted by the meetings promoted by the film club, the long conversations dealing about film criticism or reference books, the living in newspapers and magazines editorial offices favored the experience of common defining moments, with potential to produce meanings, indelibly printed on their behavior and perceptions about art and life. The coexistence resulted in contact with a number of references and own models of film analysis, that will produce effects in the written production of those who shared this cinephile ritual. “Os Espectadores” dialogued with what was read and discussed in associations with similar characteristics in different regions of the country. A cinematic generation mostly derived from academy, which also was located historically. In a moment that they lived full profusion of Brazilian cinefilia, important subjects such as the existence of a national cinema, as well as concerns about a look education, editing and Italian neorealism, also aroused the interest of North fime club members. That the Belém of 1950s, suffered the ills by not having a structure that would allow greater autonomy from both the Film Library of São Paulo Museum of Modern Art, as the commercial exhibition circuit. Members of the first film club in Belém were also linked by sharing of a meanings network, which was already done before the pictures view, creating a look that received interference from a series of symbols and meanings, as well as a particular notion of art and aesthetics. Way to see which will also be influenced by elements of the cinema characteristic meanings, heading a dynamic flow in that cinema influences in writing, as well as the film looking is influenced by intellectual formation. The literature approaches , present in the first film club in Belém, lead to reflections on how its members mediated relations between cinema and the literary construction.
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Hilda Furacão e o périplo de Cintura Fina: romance, minissérie e documentário
(Universidade Federal do Pará, 2009-06-05) SILVA, Indaiá Freire da; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
Acesso aberto (Open Access)
O invisível virado do avesso: um estudo do filme "Jogo de Cena" de Eduardo Coutinho
(Universidade Federal do Pará, 2018-06-29) FARIAS, Andréa Morais de; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
The dissertation that is presented intends to reflect on the possibilities of practical application of the art of representing in the cinema, from a personal trajectory until entering in the film Jogo de cena (2007) of the director Eduardo Coutinho. For this, we analyzed elements of the cinematic language, seen in the film, such as framing, character, movements, talks to achieve a remembrance of the characters' stories. Scene play was filmed in a theater with only women, all are somehow actresses (known or not), who quote their stories between the memories and the art of representing, with structural mixtures of the concepts of documentary and fiction. Throughout the work, we sought to establish dialogue with reflections in my story, from an enchantment to the cinema to the choice of the object of study, which is the film Jogo de cena, using personal experiences and documentary materiality about the film as a method, we seek, from the characters, to investigate how each of the women reinvents herself in the art of representing, from her memories, between concepts and theories of authors and film researchers, such as Fernão Pessoa Ramos, Bill Nichols, Manuela Penafria, Ismail Xavier, Jean Claude Bernardet, Cláudia Mesquita, Consuelo Lins, among others. It presents a theoretical problem, which transfigures in an analysis without the pretension of specifying the intentionality of the director in the application of the art of representing, as well as of the spectator, since the film gains autonomy, and the spectators, can enter into that territory and to derive predictable meanings and interpretations, but never inexhaustible.
Acesso aberto (Open Access)
A música nos filmes "Um dia qualquer" e "Brutos inocentes" de Líbero Luxardo
(Universidade Federal do Pará, 2016-07-08) ALONSO, Wagner de Lima; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
In this research we explored, from the fictional movies Um dia qualquer e Brutos inocentes de Líbero Luxardo, both members of the Amazon Cycle of filmmakers' production, the relationship between instrumental music and scene, in a sum, based on what can be said about something that is not only image neither isolated music, but a peculiar amalgam of film language or audiovisual expressions. Based on epidemiological strategies in arts in the Amazon, we expect, with the results produced, to understand the process of film creation of Líbero Luxardo in using music in the Amazon Cycle films; to contribute to the theoretical and reflective researches about films from the local production; and to collaborate with spreading the importance of music in the formation of film language. Thus, we consider a film as a singular work, endowed with autonomy, able to establish a text in which reading is engendered by the characteristics of its narrative and its visual and audio data. For this study, we did not apply any preconceived methodological proposal, we only suggested a template to analyze the filmic sequences of Luxardo included in the survey. There is an object approach in Philosophy, called Phenomenology, we deemed more appropriate to our study for it values the way of saying what things are, understands that the exterior and interior of things coincide. That means, one thing is as it is, so that if we wish to say what something is, we should perceive it, contact it as a phenomenon, as something that takes place in our perceptual field, and then, without prior notions, describe it. This approach will guide all the descriptive steps. Thus, our way to analyze the films was based on the following cycle: identification of the film sequences in which there is incidental instrumental music; description of the selected sequences of images; description of the music from the same sequences; identification of the relationship between music and image; and finally, comments on the relationship between image and music in each scene, relating them, when possible, with the literature on the subject. We also consider that Luxardo’s films should be taken as works inscribed in the history of forms and cinematic styles; therefore, on the last stage proposed, we have established a dialogue on the identified relationship between music and image in his films with some existing theories on the subject and we have used as theoretical assumptions mainly Carrasco (2003), Chion (2011, 2015), Matos (2014), Radigales (2008), Tragtenberg (2008), e Xalabarder (2013), signatories to the idea that music and scene in their relations extend the possibilities of meanings and definitions to the perception of the viewer. The theories that supported this research were obtained through printed literature and digital media. Through this model, we seek a balance between the interpretative content of comments and the information provided that can make them verifiable, stimulating debate and the continued construction of knowledge.
Acesso aberto (Open Access)
O olhar artístico diante do fenômeno social: a violência invisível do filme "o som ao redor"
(Universidade Federal do Pará, 2015-06-30) MARÇAL, Ana Carolina Chagas; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This paper intends to investigate how the movie to investigate Neighboring Sounds, directed by Kleber Mendonça Filho, released in 2012, captures elements of reality , reframes them and builds from there a speech about social phenomena such as fear, the feeling of insecurity , urban violence , divisions etween center and periphery, labor relations and the recent colonial past linked to the sugar cycle. We try to show how the film captures the routine of small street of Recife in a naturalistic way, ending up in "realism impressions." Then we address the way in which contemporary cinema and also the national cinema have presented the issue of violence and its differences with the narrative of Neighboring ounds Besides, we discuss the importance dialectic between the field and off the field as formal elements necessary for construction of what we call aesthetic of the "inside" and "outside" and its relation to the fear and the feeling of insecurity, and the construction of the soundtrack that emphasizes the sounds coming out of bounds, referring to what is not there framed by the camera. For this, we conducted analysis of themed Sound around, analyzing the film sequences, starting the work, building possible relationship between her and the world in an incessant movement of return to work, onsidering that work of art is in itself , a social phenomenon that relates to others that are external. In that sense, we seek to relate the film discourse with the concept of disciplinary society of Michel Foucault, Zygmunt Bauman's analysis of the Medes and human relations in contemporary society and the sociology of art by Jean-Marie Guyau, assuming epistemological field as the relationship between philosophy, ociology and sociology of art.
Acesso aberto (Open Access)
O olhar estrangeiro estigmatizado(r) do cinema: invenção, sustentação e reinvenção do imaginário sobre a Amazônia
(Universidade Federal do Pará, 2013-06-28) BELO, Geovane Silva; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
The film is one of the most influential arts in the representation of cultures. His discursive-visual power interferes on the imaginary about spaces of scholia and behaviors. The big screen build looks and reinvents them. This project aims to examine the imaginary in the documentary/fiction “Iracema, umatransamazônica(1974)”,it wishes to understand the stigmata film on the Amazon, illustrate them films in the “Florestas Esmeraldas (1985)”, “Lambada, a dançaproibida (1990)”,“Anaconda (1997)” and also in the national motion pictures “Taina, umaaventuranaAmazônia (2000)” and “Um lobisomemnaAmazônia (2005)” - especially in the correspondence between art/imagination. The studies of travelers' reports, theories of Gilbert Durand, NeideGondin, Ana Pizarro, Claude Lévi-Strauss, Edgar Morin, among others, will be the cornerstone to understand the invention, maintenance it and reinventing it over this stigmatized look.
Acesso aberto (Open Access)
Paisagem na neblina da arte cinematográfica: um pacto cinéfilo do Cineclube da Associação Paraense de Críticos Cinematográficos (APCC)
(Universidade Federal do Pará, 2021-11-29) CARVALHO, Marco Antonio Moreira; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This research will focus on the history of the film club of the Association of Cinematographic Critics (APCC), due to the importance of recording, analysis and dissemination of the works developed, from creation to the present day, and establishing relationships and educational proposals for cinema interaction with the subjects included in the world. All works are sources for reviewing and creating the concepts, function and importance of film clubs, as a space for showing films and stimulating studies on the evolution of cinema as art and its varied alternatives for creating and communicating with viewers. One of the goals is to value the work of Film Clubs and update, in contemporary times, their importance as an element of cultural action and film education. It also aims to document and analyze the actions carried out by the APCC Film Club, from 1967 to 2020, through bibliographic and documentary research (newspaper articles, interviews and advertisements), as well as the activities carried out, of the cultural agents involved, of the partners who collaborated with their performance and of the spectators of the programs carried out, in this film club movement in Belém-PA. When researching the history of a film club that shared film experiences with several spectators, it is understood that the evolution of cinematographic art took several attempts to create its own language with the contribution of several artists. However, the extensive trajectory of experiments required other means of insertion for the public, such as film clubs, these created in the 1920s, in France. These film clubs were fundamental for the understanding and appreciation of other cinematographic aesthetics. From the study of the performance of a film club located in the Amazon, with greater operational adversities than in other urban centers, the intense awakening of its agents' cinephilia and the importance of understanding its history to maintain film club ideals in activity is highlighted. In order to maintain and expand the actions of cinematographic culture practiced by this film club, it is necessary to think about an expanded filmmaking that includes a greater relationship between cinema as art and its relationship with the world in proposals that develop and explain its potential as an artistic medium. educational.
Acesso aberto (Open Access)
Peça filme: o efeito cinema e a poética dos espetáculos teatrais de Saulo Sisnando
(Universidade Federal do Pará, 2012-01-27) SISNANDO, Saulo Alexandre Picanço; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This work intends to investigate the influence of the cinema on Saulo Sisnando's plays by using projections, as in the Play-Movie popPORN - sete vidas e infinitas possibilidades de corações partidos, or considering the way the film editing was added to the staging of Cartas para Ninguém Play-Movie. This work also aims at demonstrating step by step procedures for inserting film techniques into the play o misterioso desaparecimento de Deborah Rope (built along with this work), discussing the possibility of such a hybridization, which goes beyond the use of audiovisual resources (yet using it), but seizing typically film concepts as film editing, montage, close-ups, fades, cuts, plans against plans, sequences, frameworks, etc, in a way to achieve a "film effect". Besides, it also intends to analyze the Play-Movie O misterioso desaparecimento de Deborah Rope from the dramaturgical building up into the execution on stage, when, following a realistic theory of André Bazin, it will be analyzed through the film editing and plasticity of the image prism.
Acesso aberto (Open Access)
Quandú: possíveis diálogos entre literatura e o cinema de animação
(Universidade Federal do Pará, 2019-06-28) TAVERNARD, Cássio Mauro Oliveira; AZEVEDO, Ana Lucia Lobato de; http://lattes.cnpq.br/9182752708471137
QUANDÚ - Possible dialogues between literature and animation cinema, a transliteration/ transcription research. It starts from the reading, appropriation and analysis of the short story Do que Morreu o “Manduca Lambão”, by the poet Antonio Tavernard. It is proposed as a result of the research to create a dialogue between a literary short story and a poetic work translated into an animated film, as well as a descriptive memorial of the interrelation and investigation of such process and the adopted procedures.
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Representações do corpo deficiente no cinema: uma análise dos filmes ‘Feliz Ano Velho’ e ‘Intouchables’
(Universidade Federal do Pará, 2022-12-01) SOBRAL, Maria Lizete Sampaio; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
The view built on the representations of physical disability in humanbeingshas been, throughout history, often associated with the notion of stigma, whichnormallyrelates the disabled body to someone incapable, discriminated against, possessinga sufferingcondition. As a proposal of this research , we present other approaches to this relationship,which do not dwell solely on conventional notions, but which, on the contrary, cancoverabroader and, at the same time, deeper field of investigation and debate, when confrontingmain themes such as 'body', 'disability, 'cinema', interrelated by the idea of socialrepresentations. We prioritize analyzing the disabled body when this body takes acentralplace in the cinematographic narrative. For this, this study is based on the analysis of twofilms that present similar narratives and content. The films are 'FELIZ ANOVELHO', inBrazilian cinema, and 'INTOUCHABLES', in French cinema. Both are inspiredbyliteraryproductions, more precisely by autobiographies. Its central characters, Mário, in the Brazilianfilm 'FELIZ ANO VELHO', Philippe in 'INTOUCHABLES', a French film, live similar lifeexperiences, as both suffer real situations of accidents: Mário diving into a lake andhittinghishead, Philippe when falling from a paraglider, accidents that leave themforeverinwheelchairs. The option for the analysis developed here is due to considering the possibilityof confronting symmetries, or not, between the films, that is, by the similaritiesanddifferences existing in the stories lived by their protagonists. With an emphasis ontherelationships we seek to understand, we opted for a more specific study on the disabledbodyin cinema as the basis for building the research. Thus, the process experiencedbytheprotagonists of the films and the way in which the issue of the disabled body is addressedineach film, become central themes of this debate. The research has its theoretical basisinthetheories and dialogue of the Social Sciences, regarding the idea of social representation, withArt and Cinema, as well as brings reflections from scholars such as Maria Lúcia Homem,Lacan and Freud, regarding , mainly, his particular elaboration on the notions of real body,symbolic body and imaginary body
Acesso aberto (Open Access)
Revisão crítica-onírica do território chamado Amazônia no sonho real de meias-verdades chamado Cinema
(Universidade Federal do Pará, 2018-08-16) MOURA, Mateus Nogueira de Farias; AZEVEDO, Ana Lucia Lobato de; http://lattes.cnpq.br/9182752708471137
The "Amazon", born as a creature of the imagination of a people who projected their obsessions into a territory already inhabited by several other ethnicities, is a ghost that carries within it deep and conflicting questions. The cinema, in the XX-XXI centuries, re-updates and reconfigures, in a way either more naive or more critical, several of these questions. This paper proposes ways of approaching this memory critically. As an artist-researcher, who directly experiences the audiovisual and who believes in the epistemological power of cinema, I proposed a significant part of this research to be rehearsed within this language, having as method the "reassembly", the "remix". Another part, no less significant, is rehearsed through the word. Presenting the trajectory and the methodological searches of the author during his own critical review, this work trusts on a pedagogical process of constant individual revisions integrated with the proposition of cultural actions that stimulate continuous collective exercises of historical, political and aesthetic reflection about this territory that we still call "Amazon". As a proposer of a work within the research line of History, Criticism and Education in Arts, more than as a researcher or an artist, I present myself as a filmmaker, and present this text as a starting point for education as a practice of freedom
Acesso aberto (Open Access)
O site cinematecaparaense.org e a preservação virtual do patrimônio audiovisual: uma cartografia de vivências cinematográficas
(Universidade Federal do Pará, 2015-06-16) SILVA, Ramiro Quaresma da; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
This project proposes a cartography of the estate of Pará (Brazil) movies for a rhizomatic and multidimensional view of this cinematography. The research is presented in three stages. At first, the cartography method (Deleuze / Guattari) with emphasis on cinema (Kastrup), reflecting on the institution Cinematheque as guardian of the cinematographic memory of a place (Le Goff and Ferro) and a review of the literature and from sources on memory the Para cinema. Then in the second and longest stage, an inventory of filmography held in the state of Pará from 1960 to the present day, identifying the most relevant filmmakers and movies, describing their methods and filmic production from applied interviews and questionnaires, diversity theme of his scripts, developing an analysis of these works by identifying the historical, social, cultural and technological moments. Finally, the third stage, a reflection on the actions for the preservation of film archives in the state, the dilemma of contemporary cinema files, analog versus digital and Cinematheque of Pará site experience in preservation, cataloging and dissemination of virtual cinematography in cyberspace.
Acesso aberto (Open Access)
Tem deus grego na encantaria cinematográfica da Amazônia: uma mitoanálise do filme “Juliana contra o jambeiro do diabo pelo coração de João Batista"
(Universidade Federal do Pará, 2016-06-22) CONCEIÇÃO, Hellen Katiuscia de Sá; LIMA, Wladilene de Sousa; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
This dissertation presents the mitoanalisys the short film Para 2011 "Juliana Against Jambeiro Devil by John the Baptist Heart," written and directed by filmmaker Roger Elarrat. The objective point mitoanálise Greek god of traces of death, Thanatos permeating the plot of filme.Utilizo "The Hero's Journey" (or theory of Monomyth), developed by the American Joseph Campbell, in addition to the universe of Mitoanalisys (or Mitanalisys) of French Gilbert Durand, as theoretical basis. For the methodological procedure of this work, we turn to sfunatto zone, Paes Loureiro. To legitimize this sfumatto, inaugurating the investigative playful language as expressive means to give voice to a literary-scientific text. Breaking with academic manner of dissertation writing, present the reader with a reflective fictional narrative, the body of a fantastic story full of conceptual characters designed by me, which lead the reader to understand the step-by-step mitoanalisys presented.