Navegando por Assunto "Cinema"

Agora exibindo 1 - 20 de 27

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Aspecto da narrativa de resistência na literatura e no cinema
(Universidade Federal do Pará, 2010-06) CASTRO, Veridiana Valente Pinheiro; SARMENTO-PANTOJA, Tânia Maria Pereira
Aiming to observe some historical and cultural resonances of 1964 Brazilian Military Dictatorship, this work parts from the relation between literature and cinema and its effects in the composition of novel Em camera lenta (1977), by the Brazilian writer Renato Tapajós.
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Belém entre filmes e fitas: a experiência do cinema, do cotidiano das salas às representações sociais nos anos de 1920
(Universidade Federal do Pará, 2011-08-12) CARNEIRO, Eva Dayna Felix; SARGES, Maria de Nazaré dos Santos; http://lattes.cnpq.br/2076421409418420; LACERDA, Franciane Gama; http://lattes.cnpq.br/1007392320101957
The social history of cinema is also marked by the habit of frequenting. In addition to the film, elements such as infrastructure and advertising plays a major role in order to create an atmosphere of seduction and involvement with the images displayed. The track of the cinema, among other ways, is linked to the viewer, the physical space of projection rooms and the sociability it worked out. This essay discusses the cinema in the city of Belém (Pará) in the 1920s. To investigate how much the cinema interacted with the urban scene that period. Likewise, we discuss elements of the infrastructure of the rooms such as accommodation, ventilation, and music. We sought to demonstrate that the act of watching a movie in the state capital of those years was just a part of the "ritual" of frequenting the cinema, hence the concern to understand the forms of sociability processed within those rooms. Besides, it is an analysis of the cinema acting as a mediator of social representations of gender and childhood.
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Casa de Luiza : escritos de um retorno
(Universidade Federal do Pará, 2023-03-06) SILVA, Rodrigo Antonio da; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592
Luiza's house, writings of a return is a work-research in Arts. It started from the reflection and construction of black families visual narratives, in documentary cinema, having my grandmother’s death as a trigger for the process of collecting, collage and dialogue of different traces of memory. For the development of this work-research, I adopt as a discursive basis women-voices, thinkers and artists, namely: Beatriz Nascimento (1989) and her definition of the black body as a body-memory; afrografia by Leda Martins (2021) in dialogue with the escrevivência by Conceição Evaristo (2005), which help me to understand the need and power of using my voice and body – in the field of filmic writing; and the perspective of becoming a subject according to Grada Kilomba (2019), to understand this aspect in the affirmation of myself as a researcher-artist. In a filmic fable, past, present and future are instantiated in the understanding of an ancestry of the diaspora born of escape as freedom, in a constant recreating of paths to be presented in the format of an “artist’s text”, as conceptualized by Rosana Paulino (2011). In this writing, the reflections that gave rise to short films that are part of the research and that aim to contribute to the debate on the Afrocentric episteme in the area of poetic research are shared. The writing of this story is on the walls, in the traces of life, in scattered images, in multiple voices, in threads of memory yet to be stitched together.
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Cinema como escola de vida: a propósito das películas de ficção científica
(Universidade Federal do Pará, 2022-02-18) OLIVEIRA NETO, José Augusto de Jesus de; SILVA, Carlos Aldemir Farias da; http://lattes.cnpq.br/7226908910873590; https://orcid.org/0000-0001-5463-1316
The language of cinema presents possibilities that allow us to evoke the human fascination for images, something we’ve inherited from photography itself, and it also provides a multiple, collective and individual experience when we think about the environment where it occurs, be it a movie theater or the screen of a smartphone. These qualities ignite in us the identification-projection, a process through which we project our own selves on the characters who, in their turn, come alive through us. This work reflects on how cinema, through film, promotes learning that goes beyond the action of making school content and scientific concepts didactic, when we amplify the conceptual expression of Edgar Morin of cinema as a school for life. Such a reflection is carried out through bibliographical research starting from Edgar Morin’s studies on cinema and the Brazilian post-graduate scientific production on the topic, especially as it concerns science fiction in the teaching of school science. Eventually, discussing the movie Contagion (2011), we endeavor to understand, through reflections which seek to provide answers to the covid-19 sanitary crisis, what the cinema school of life can teach us through the narrative of a pandemic scenario which projects realities based on the imagery of a future that has already arrived.
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Cinema e resistência: a ditadura militar brasileira em Zuzu Angel, de Sergio Rezende
(Universidade Federal do Pará, 2015-12) CALEGARI, Lizandro Carlos
From 1964 to 1985, Brazil experienced the Military Dictatorship, to which images of extreme violence are linked. The artistic production of that moment came to represent such a historical situation, seeking to produce works that were against the ideology of the authoritarian power. Aside from literary works and musical expressions, many films were made to “speak” about that period. The purpose of this article is to deal with the concepts of resistance and cinema in order to verify how these words help in an analysis of Sergio Rezende’s Zuzu Angel (2006). Walter Benjamin, Alfredo Bosi, and Márcio Seligmann-Silva are the main authors who underscore the present approach.
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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.
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O Cineteatro territorial de Macapá e a criação de uma política cultural janarista
(Universidade Federal do Pará, 2023-06-26) FERREIRA, Frederico de Carvalho; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This doctoral research, developed in the Graduate Program in Arts at the Federal University of Pará, under the guidance of Prof. Dr. Bene Martins, conducted a study on socio-politicalcultural contexts engendered from the establishment of the Federal Territory of Amapá (TFA), focusing on Cineteatro Territorial de Macapá, between the years 1944 and 1949. The research, entitled: O Cineteatro Territorial of Macapá and the Creation of a Janarist Cultural Policy. The objectives are to highlight and reflect on the creation of a cultural policy, disseminated by Governor Captain Janary Gentil Nunes and its possible influences on the process of Amapá identity formation. This research is justified by the lack of works that address the theme and the need for more in-depth approaches to the artistic, cultural and theatrical memory of Amapa and its social and political contexts, which may have influenced its identity and cultural formation, in addition to contributing to , as a theoretical and critical contribution to future research, enabling conditions for the growth of Theater in/from the North and in/from Brazil. The central point of the study is the artistic and cultural movement provided (or not) by Cineteatro Territorial de Macapá, official space for political and cultural diffusion of TFA. In the construction process of this research, according to the proposed objectives, the formation of the TFA is investigated, since its fragmentation in the state of Pará (1943), the choice of the territorial capital and the Jornal Amapá, as a documentary source, the inauguration of the Cineteatro Territorial de Macapá (1944) and its political-cultural activities, the creation of a janarist cultural policy and the possible dialogue with the cultural movement of amapa. The study joins the line of research: Memories, histories and education in the arts, of the Graduate Program in Arts (PPGARTES-UFPA). The supporting methodologies are those of the artisticcultural field, cultural studies, in dialogue with other references, based on a qualitative analysis of the sources. Initially with a systematic reading of bibliographies on cultural policy, theatrical and audiovisual contexts established between 1944 and 1949. The consulted materials are from films, shows, artists and theatrical companies registered in Macapá-AP. It is characterized as documentary research, as it prioritizes the survey and analysis of sources that allow the interpretation of official bodies and documents, such as the Jornal Amapá and the Report of Activities of the Government of the Federal Territory of Amapá.
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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.
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De Carlos Eugênio à “Codinome Clemente”, entrevista com Isa Albuquerque
(Universidade Federal do Pará, 2021-06) SARMENTO-PANTOJA, Carlos Augusto Nascimento; SARMENTO-PANTOJA, Tânia Maria Pereira
Interview held on October 15, 2020, as an activity of the VII International Seminar on Literature and Resistance Film (SELCIR). The interview was conducted by PhD. Augusto Sarmento-Pantoja and had the collaboration of PhD. Tânia Sarmento-Pantoja and the participation of Filmmaker Isa Albuquerque and researcher and widow of Carlos Eugênio, PhD. Maria Cláudia Badan Ribeiro. Below we transcribe some passages from the interview with Isa Albuquerque. The full interview is available on video https://www.youtube.com/watch?v=O9LQuU0pKsQ.
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O discurso do Infilmável: formas de pensar a adaptação entre literatura e cinema
(Universidade Federal do Pará, 2023-09-11) LOUREIRO JUNIOR, João Pereira; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945; https://orcid.org/0000-0003-0552-4295
This thesis reflects on the discourse of the infilmable from the representation of the impossibility in the translation process between literature and cinema, potential justification to evidence a supposed aesthetic impediment in the interartistic relationship the literary and the filmic. To discuss the ways of thinking adaptation from this perspective, we assume that the unfalmable reveals the conflictive relationship between what is proposed to be done (from mechanisms and resources built in the making of the script) and what materialized as an adapted product. This occurs through an intense process of searching for the film and finding solutions to assume the particularity of the cinematographic work, which in the filmable, is as unfalmable, because all cinematic translation is a possibility, a desire to transform aesthetic creation into a language in all its imagery potential. To analyze the constitution of the unfalmable discourses, we used several theoretical frameworks in the field of adaptation that helped us in the research. To discuss relational constructions around the game literature, cinema and translation, we used authors such as Borges (2007), Benjamin (2008), Llosa (2004), Cândido (1972), Adorno (1970), Bernardet (1985). When we discuss the unfalmable, starting from a conceptual, etymological, semantic, linguistic and historical perspective, to reach the places of speech that feed the term, we use authors such as Stam (2008), Avellar (2007), Bazin (1991). To support our readings on translation, adaptation and other related concepts, we propose a dialogue with Figueiredo (2010), Sanchez Noriega (2001), Plaza (2003), Seger (2007), Hutcheon (2013). In order to enhance our discussion, we analyzed some adaptations of films/TV series, based on Don Quixote by Miguel de Cervantes, we used as theoretical contribution scholars such as León (2015); Hidalgo and Arruda (2020), Morell (2022) Silva (2016), Johnson (2003). As a conclusive point for the discursive delimitation that we propose to investigate, this thesis demarcates its position in the field of translation/ adaptation between cinema and literature, evidencing the fragility of a discourse around the unfalmable that potentiates itself in the space of common sense, by the discursive imposition of an uncontrolled impossibility, as soon as it is confronted by the power of translation between the borders that encompass the literary and the filmic and its eternal becoming.
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Entre o cinema e a locomotiva: os documentários de Edivaldo Moura como escrituras fílmicas de um passado castanhalense (1940-1995)
(Universidade Federal do Pará, 2024-02-26) OLIVEIRA, Matheus de Sousa; PETIT, Pere; http://lattes.cnpq.br/8376409779394321; https://orcid.org/0000-0002-8970-3073
This research aims to analyze the process of filmic writing of part of the urban daily life of the 20th century (1940-1995) in the city of Castanhal (Pará) through two documentaries produced by the paraense filmmaker Edivaldo Moura, which are O Cinema de Seu Duca (2016), that addresses the multicultural trajectory of Cine Argus during its nearly six decades of operation in the city; and A Última Maria (2021), that focuses on some of the structural elements of the Bragança railway (EFB) in the daily life of the inhabitants of Castanhal, safeguarding the Castanhal locomotive and the railway station as protagonists. Both films are structured in similar ways by inviting residents of the city to share their past personal experiences with the main elements that the films envision – the Cine Argus and the Castanhal Locomotive. Film analysis (internal reading) was utilized in conjunction with documents sources to assert the films not as mirrors that represent a past already given by a passive social externality, but rather as producers of a historical movement proper to the Castanhal period addressed and, mainly, to its present producer. As a result, the films were understood as creators of a temporal intelligibility that anchors the present-past by formulating their own specific writings of part of the urban transformation of Castanhal, having the cinema and the locomotive, along with the social experiences developed in these spaces, as supplanted symbols – and at the same time resistant – of the policy of urban-commercial remodeling of Castanhal initiated vigorously from the second half of the 20th century in the city.
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O espaço e o tempo feminino num dia qualquer: Belém 1960
(1995) ÁLVARES, Maria Luzia Miranda
Embora até hoje incipiente, não se pode dizer que o cinema paraense inexista. Alguns filmes realizados têm apresentado esparsas demonstrações, por vezes corajosas, de cineastas conterrâneos esforçados em usar a linguagem das imagens para captar aspectos documentais e/ ou ficcionais da sociedade, em épocas variadas. Libero Luxardo, paulista de Sorocaba, radicado em Belém desde a década de 40, insere-se entre os que já tentaram fazer cinema no Pará. Com uma obra premiada e clássica (Alma do Brasil - A Retirada da Laguna/ Mato Grosso/ 1931), pode ser visto competindo com alguns cineastas da sua época. Introduziu-se no meio paraense através da profissão que abraçara no sul, realizando documentários. Os filmes de ficção vieram depois, mas os dois gêneros usaram como background, a místico-exótica Amazônia. Uma de suas primeiras iniciativas cinematográficas para fixar-se no Pará foi Amanhã Nos Encontraremos, filme inacabado realizado na década de 40. Na segunda Interventoria de Magalhães Barata, o cineasta procurou registrar as benfeitorias governamentais dessa fase populista da política paraense. Entre os dados recolhidos da imprensa deste período, há notícias sobre os projetos a serem desenvolvidos por ele. Um outro dado muito significativo é dado pelo pesquisador Alfredo Wagner sobre a existência, na Região do Arari, de um caboclo que teria sido ator de filmes de Luxardo. A cinebiografia mais recente do cineasta aponta os seguintes filmes: Um Dia Qualquer (1962), Marajó, Barreira do Mar (1964), Um Diamante e Cinco Balas (1966) e Brutos Inocentes (1974). Da fase partidária e política, ressalta-se o documentário O Enterro de Magalhães Barata (1959), entre os inúmeros que realizou ao registrar as obras oficiais do governo baratista. O resgate histórico da passagem de Libero Luxardo pelo Pará está merecendo a atenção do pesquisador de cinema. Por ora, meu interesse em contextualizar sua obra deve-se a um tópico instigativo a ser desenvolvido: qual o olhar de Libero sobre as mulheres paraenses da década de 60 no filme Um Dia Qualquer? O tema pretende recobrir uma fase do cinema paraense, momento em que as mudanças culturais e sociais estão fazendo-se no mundo. Objetiva pensar também, nestes cem anos de cinema, as contribuições a ele dadas pela cultura paraense.
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Etologia, Antropologia e cinema: uma etnografia da violência em Sob o Domínio do Medo
(2009-12) SOUZA, Maurício Rodrigues de
This article is as an attempt to comprehend the phenomenon of aggression in its multiple aspects. In such a task we will take into account the theoretical references of Ethology and Social Anthropology. In order to better illustrate the ideas exposed here, cinema will be used as an ethnographical resource. Therefore, some parts of the movie Straw Dogs (1971) are going to be analyzed in more details.
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#Fetiço (in progress): fazer pensar magia no cinema amazônida
(Universidade Federal do Pará, 2019-04) CORDEIRO, Rosilene; WEYL, Francisco; BEZERRA, José Denis de Oliveira
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Financiamento Coletivo Audiovisual Universitário : Uma reflexão a partir da realização do longa-metragem A Besta Pop
(Universidade Federal do Pará, 2021-09-29) FERNANDES, Suelen Cristina Nino; STOCO, Sávio Luís; http://lattes.cnpq.br/3206903170798612
This paper analyzes the use of crowdfunding by undergraduate students in cinema, audiovisual and related fields as a creative alternative for making projects viable, proposing a reflection based at the personal experience of making the feature film A Besta Pop (2018). At first, I present the process of building the movie from its origin to its various exhibitions, drawing a parallel between the market's production model and the adaptations made in the university environment of the film, using Aída Marques (2007), Chris Rodrigues (2007) and Jose Quesada (1996) as a theoretical framework. Then, I draw an overview of the characteristics of crowdfunding, as a financial way of the practices of collective constructions that take place in the virtual environment, known as crowdsourcing, drawing on the theoretical scope of Vanessa Valiati (2012; 2013) and Scott Steinberg and Russell DeMaria (2012), among others. To do so, I analyze the mechanisms present in the Catarse platform, presenting the data survey of projects that identified themselves as university, hosted on the platform between the years 2016 to 2018, in order to understand the profile of projects and proponents. In this sense, I try to understand the movement of crowdfunding in the context of the creative economy, proposing a reading of creativity in the performance of the audiovisual producer, based on John Howkins (2007), Richard Florida (2012), Mariana Madeira (2014), among others, as references to reflect on the challenges posed by social, economic and political issues in the audiovisual activity
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Hilda Híbrida Outro Eu: Filme Ensaio
(Universidade Federal do Pará, 2022-02-09) GALVÃO, Galvanda; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
Acesso aberto (Open Access)
História e cinema: uma leitura iconográfica da modernidade
(Universidade Federal do Pará, 2021-06) SILVA, Edinei Pereira da
This article has a scope deal with a movie theater as a consequence of changes by the development of modernity. The elements captured by cinematic lenses, beyond big facts shown by the historiographies studying, passing by daily relation, those which many times are managed by the time. This one, problematized here like capitalism substance placed as standardization about an organization. Some films were done to fund the study. For example Metropolis (Lang, Fritz), and Tempos Modernos (Chaplin, Charles). Both bring a lot of questions for an analysis of that conjuncture. Searched scan scenes that bring the direct form to Time as an elementary substance about that reality, and your conjunctions which implies in alternation and consequences of modernity man from iconographic reading.
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Infância e pobreza: as crianças ao cuidado do cinema
(Universidade Federal do Pará, 2018-06) DOMINGOS, Susana Isabel Marcelino Guerra
Prejudice against poverty, and especially child poverty, built on heavy class stereotypes, carries a series of associated negative images and representations. Too often associated with wandering and delinquency, poor childhood is seen as a threat to society, and it is an uncomfortable object to look at because it gives visibility to a disturbing side of our social reality. This paper proposes that we focus on the way in which childhood in an exception state was represented by cinema. From Luis Buñuel's “Os Esquecidos” and François Truffaut's “Os Incompreendidos”, we will try to understand how child poverty is given to us, while questioning the role of cinema in the exercise of resistance against the phenomenon of invisibility of poverty, as well as the range and limits of our reaction to the images we project
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Melancolia e resistência: em câmara lenta
(Universidade Federal do Pará, 2013-09) PINHEIRO, Veridiana Valente; SARMENTO-PANTOJA, Tânia Maria Pereira
Aiming to observe some historical and cultural resonances of 1964 Brazilian Military Dictatorship, this work parts from the relation between literature and cinema and its effects in the composition of novel Em camera lenta (1977), by the Brazilian writer Renato Tapajós.
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.