Dissertations / Theses on the topic 'Art documentary'
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Frost, Stephen. "Natural Bridge: Environmental Art in New Media Documentary." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367220.
Full textThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.
Full textAnthropology
Opal, Jack A. "Rethinking Documentary Photography: Documentary and Politics in Times of Riots and Uprisings." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366971692.
Full textBell, Leah Helanie. "Documentary Film: Access Denied." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5329/.
Full textClausen, Barbara. "Staging the documentary." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-172646.
Full textFossen, Pamela, and n/a. "Errol Morris and the art of history." University of Otago. Department of Media, Film and Communication, 2009. http://adt.otago.ac.nz./public/adt-NZDU20091001.154456.
Full textBerigny, Wall Caitilin de. "Documentary transforms into video installation via the processes of intertextuality and detournement /." Canberra : University of Canberra, 2006. http://erl.canberra.edu.au/public/adt-AUC20070723.103335/index.html.
Full textSubmitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Canberra, May 2007. Includes filmography (leaves 124-126) and bibliography (leaves 130-136). Also available online.
Lee, Hyunseok. "Representing Korean Buddhist art and architecture : a 3D animated documentary installation." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/9420.
Full textEhrlich, Nea E. "Animated realities : from animated documentaries to documentary animation." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25699.
Full textOpal, Jack A. "Documentary Photography and the Edge of the Sword." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492608162938188.
Full textMendoza, Darwin Y. "Theorizing on Honduran Social Documentary." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1268429222.
Full textLang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
Full textLang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
Full textThesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Hart, Phoebe. "Orchids : intersex and identity in documentary." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29712/25/Phoebe_Hart_Thesis_redacted.pdf.
Full textHart, Phoebe. "Orchids : intersex and identity in documentary." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.
Full textMarley, K. "The art of fact : an exploration of the relationship between theory and practice in documentary filmmaking." Thesis, Liverpool John Moores University, 2017. http://researchonline.ljmu.ac.uk/7607/.
Full textKuo, Yen-Ting. "Social Responsibility and Aesthetics: The Function of Documentary Filmmaking in Contemporary Taiwan." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367473.
Full textThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Žadeikytė, Asta. "Dokumentinis eksperimentinis filmas." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_081950-92964.
Full textWork "Experimental documentary film", examines how the documentary film genre, record and represent the reality on the screen, as an objective documentary shots may reflect real life. Strengthening of a documentary genre that began in the twenty-first century, entered and was held in conjunction with documentary brightening discourse in contemporary art. It encourages the consideration of video art and documentary genres in close contact. While artists can‘t fit representation in documentary film frames, experiment with the documentary film resolution and try to expand. Experimental video art and documentary cinema took off from the same ground - a documentary film language, it has become a constant of real representation on the screen. Video artists taking over the documentary film strategies, wants to create a realistic atmosphere of his films, with experiments artists wants to update the definition of documentary, through an extraordinary visual material, as the documentary shots, who pretends to be a direct reflection of reality, also mediated images. My work aims to analyze video artists experiments with language and as a culminating result create documentary film about the emigration from Lithuania.
Matzke, Alex. "If She Isn’t Working Miracles, What Is She Doing On The Battlefield?" VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4259.
Full textRose, Kathleen A. "Environment "atmosphere" /." Online version of thesis, 1989. http://hdl.handle.net/1850/11084.
Full textMcNiven, Andrew. "‘Monkey Business’ : an artist’s action research into the parameters of temporary gallery installation through reflexive formal and informal documentary practice." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/985/.
Full textMoore, Andrew Benjamin. "A documentary like no other? : Harvard's Sensory Ethnography Lab, embodied knowledge & the art of non-fiction film." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/19989/.
Full textMartin, Julie. "Documenter le monde à l'ère des images fluides : stratégies artistiques." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20078.
Full textThis research in art and sciences of art focuses on artistic practices which document recent history or current events, in an environment already saturated by image streams, resulting from a general connection to the Internet. The study is based on a core of works made since 2005 by a dozen artists and follows four successive points of view: one of historical and conceptual heritage, one of mediality, one of artistic position and one of the political scope of the artworks. The analysis of the theoretical and historical context prior to the studied artistic approaches reveals that the artists concerned do not try to think of the contemporary in terms of innovation, let alone reacting by the tactics of tabula rasa. On the contrary, they tackle it with strategies that are not bound by historicised, sequential, and linear time, similar to mediarchaeologic approaches. The medial approach makes it possible to confronted neomediatic logics adopted in documentary works, particularly intermediality, variability and remediation. With remediation, artists integrate within their productions broadcast media images to make visible their influence on our perception of the world and reveal them as an appartus to be subverted. Moreover, by working to create representations and narratives of the real, the artists who produce them appear not to leave the prerogativeto the professionals of the media of information and communication.Nevertheless, while borrowing their approach from the journalist and the investigator, the artists do not pursue the same ends and break away from the certainties that the journalistic narratives claim, by resorting to other tactics of which the most unique is to visually alter the picture. Finally, beyond the topics and approaches that can be very critical, it seems possible to characterisedifferently the political involvement of these works and to update, in the era of the fluid image, an ethical responsibility of the artist that translates into artistic acts
Clausen, Barbara. "Staging the documentary: Babette Mangolte and the curatorial ‘dispositif’ of performance’s histories." map - media archive performance ; 2014/5 (E-Journal, URL: http://www.perfomap.de, ISSN 2191-0901), 2014. https://slub.qucosa.de/id/qucosa%3A7328.
Full textCoombs, Neil. "The communicating village : Humphrey Jennings and surrealism." Thesis, Liverpool John Moores University, 2014. http://researchonline.ljmu.ac.uk/4326/.
Full textAsadipour, Saeedeh. "5 Broken Cameras: Landscape, Trauma, and Witnessing." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459439752.
Full textDawtry, Sarah-Louise J. "Photographing Humanity in the Posthumanist Void: The US-Mexico Borderlands in the Work of Ken Gonzales-Day (b. 1964) and Krista Schlyer (b. 1971)." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459439987.
Full textShapins, Jesse Moss. "Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:11021.
Full textStatulevičiūtė-Kaučikienė, Rūta. "Iconography of Lithuanian architecture in the second part of the XIX century – in the first part of the XX century: art documentary aspect." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090316_093122-52107.
Full textArchitektūros ikonografija – vienas svarbiausių architektūros istorijos šaltinių, atskleidžiantis miestų ir atskirų pastatų kaitą, atveriantis urbanizacijos dar nepakeistas miestų panoramas ir pristatantis nebeegzistuojančius statinius. Kiek grafikos ir tapybos technikomis sukurtuose architektūriniuose peizažuose ir pastatų „portretuose“ tiesos ir kiek pačių kūrėjų išmonės? Ar išties piešti ir tapyti atvaizdai gali būti patikimi istorijos šaltiniai? Į šiuos klausimus ir stengiamasi atsakyti analizuojant XIX a. II p.-XX a. I p. Lietuvos architektūros vaizdus. Pirmuosiuose disertacijos skyriuose chronologiškai pateikiama vedutos raida Vakarų Europoje ir Lietuvoje, išskiriami svarbiausi kūrėjai ir esminiai architektūrinio peizažo saitai su mūsų šalies daile; apžvelgiamas vedutos atsiradimas ir išpopuliarėjimas Lietuvoje, ieškoma ideologinių ir istorinių tokios kūrybos atramų. Darbe pateikiamos išsamios dokumentiškų ir imaginacinių ikonografinių vaizdų formaliosios, lyginamosios ir semantinės analizės. Pasitelkus šiuos įrankius stengiamasi nustatyti grafikos ir tapybos darbuose užfiksuotų vaizdų dokumentiškumą – detalumą ir atitikimą realiam architektūros vaizdui. Analizei naudojamas tyrimai natūroje, senosios fotografijos ir rašytiniai šaltiniai. Į imaginacines rekonstrukcijas žvelgiama kaip į retrospektyvines idealiojo miesto paieškas (siejama su idiliniu peizažu) ir meninius rekonstrukcinius pasiūlymus. Abiem atvejais vertinama atkurto/sukurto vaizdo galimumas, ieškoma... [toliau žr. visą tekstą]
Valentine, Andrew Lee. "The Suspensionists." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538644/.
Full textValentine, Andrew Lee. ""The Suspensionists"." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc1538644/.
Full textMonteiro, Ticiano Pereira 1982. "Chão de estrelas : modos de subjetivação produzidos em uma investigação artística sobre os videokês em Fortaleza." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284479.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T19:35:17Z (GMT). No. of bitstreams: 1 Monteiro_TicianoPereira_M.pdf: 4948989 bytes, checksum: e5cf242aafab6e974ad40bc1cd254616 (MD5) Previous issue date: 2013
Resumo: A presente investigação parte de um processo de criação artística videográfica experimental, na qual foram filmados cantores de videokê da cidade de Fortaleza, capital do Ceará. Das inúmeras apresentações gravadas, algumas se destacavam, trazendo o problema: o que faz essas imagens mais intensas que outras? Como alguns poucos sujeitos conseguem, com o corpo, provocar sensações tão intensas no tempo de suas encenações? Do conjunto das gravações, oito foram escolhidas para compor o objeto deste estudo. A análise dessas imagens levanta como principais conceitos as ideias de dispositivo e processos de subjetivação, teorizadas principalmente por Michel Foucault e Gilles Deleuze, e a proposição da câmera como ferramenta de relação, defendida por Jean-Louis Comolli. Os conceitos são aprofundados e colocados em diálogo com outros autores, assim como com as imagens das quais emergiram. São destacados dois dispositivos essenciais às análises dos modos de subjetivação em jogo nas imagens: a câmera e o videokê. A partir daí evidenciam-se: as linhas de sedimentação, ligadas ao aspecto molar do dispositivo, presentes nas performances como reproduções dos espetáculos da cultura de massa; e as linhas de fratura, ligadas às apropriações criativas do dispositivo. Nelas são revelados como certos indivíduos realizam apropriações dos dispositivos e dos espetáculos midiáticos para produzir um conhecimento de si, sobre as formas como o corpo se põe em cena e produz momentos de intensidade na tomada. Conclui-se que são os processos de subjetivação como autoafecção que são capazes de produzir as imagens intensas. Por fim, como resultado deste processo, que transita entre a prática artística e a teoria, é realizada uma instalação audiovisual
Abstract: This research is based on an videographic experimental artistic process, in which footage of videoke's singers were made, in the city of Fortaleza, Ceara state's capital. Among the numerous recorded performances, some stood out, raising the problem: what makes these images more intense than others? How can a few individuals provoque, with their bodies, such intense sensations in their performances? Eight recordings were selected, from the entire set, to compose this study's object. From the analysis of these images emerges, as most important concepts, the ideas of device and process of subjectivation, mainly theorized by Michel Foucault and Gilles Deleuze, and the proposition of the camera as a tool for relationship, defended by Jean-Lous Comolli. Those concepts are examined in depth and put into dialogue with other authors, as well as with the images from which they emerged. Two devices are highlighted as essential to the analysis: the camera and the videoke. Based upon that, becomes evident: the lines of sedimentation, related to the devices' molar aspects, visible in performances as a reproduction of mass culture's spectacles; and the lines of fracture, linked to creative appropriation of the devices. Those cases reveals how certain individuals are appropriating the devices and midiatic spectacles in order to produce a knowledge about themselves, on the manners to impose the body on the scene and produce such intense performances. In conclusion, it is the processes of subjectivation as selfaffection that are capable of producing the intense images. Finally, as a result of this process, which, from the beginning, is both theoretical and artistic practical, an audiovisual installation is assembled
Mestrado
Multimeios
Mestre em Multimeios
Vitols, Maruta Zane. "From the Personal to the Public: Juris Podnieks and Latvian Documentary Cinema." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210796660.
Full textCharlesworth, Ian. "Gesture and documentary : an integrated studio and theoretical based study into the role of drawing and photography in fine art practice." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423436.
Full textBrandt, Nicola. "Emerging landscapes : memory, trauma and its afterimage in post-apartheid Namibia and South Africa." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:9dfe7938-670a-40fc-a063-5617c0503fcd.
Full textBrown, Phoebe. "The Culinary Browns: A Film about Family." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/53.
Full textBrown, Phoebe A. "The Culinary Browns." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/63.
Full textMay, John Edwin. "The McFarlands: "One Season"." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1719.
Full textViraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.
Full textIn 1946 the publication of John Rewald’s History of Impressionism in New York consecrated the aura of the movement’s scientific historiography, supported by documentary investment. This quality confronted laymen’s narratives, which oral tradition and some witness’s accounts’ reputations dominated. Yet, a close consideration could not agree with the assumption of an exclusive scholarly nature of the document. Since the beginning of the 20th century, varied producers, such as artists, witnesses, heirs, critics, journalists, as well as professional historians, museum curators and academics formed an impressionist documentation. It thus can be interpreted as a quest for factual truth, as much as an appropriation of a research object through its written and visual marks. The equipment of impressionist readings hence gathered are: autographs; memorabilia, movable and physical assets as souvenirs of artists; photographic and cinematographic technologies. Moreover, these documents fit into a broader visual culture which included monuments and commemorative plaques of the public sphere, or motives transformed by pictorial acts into remarkable viewpoints. A historical and critical study of such a writing of history as documentary (de)monstration allows here to look back to its execution’s social and visual contexts, the career issues in which it participated, the goals that had been assigned to it within both scholars’ and laymen’s art discourses
Statulevičiūtė-Kaučikienė, Rūta. "Lietuvos architektūros ikonografija XIX a. II pusėje - XX a. I pusėje: dailės dokumentiškumo aspektas." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090316_092714-68955.
Full textArchitecture iconography is one of the most important sources of the architecture history. It shows changing of the towns and buildings, opens cities panoramas still unchanged by urbanization and presents no longer existing constructions. What percent of truth and what percent of artist imagination is in these townscapes and portraits of the buildings? In the text it is attempted to answer these questions by analyzing Lithuania architecture views of the second part of the XIXth century- the first part of the XXth century. Evolution of veduta in West Europe and Lithuania is presented in the first part of the dissertation. The most important creators of veduta and the essential bonds of the European townscapes and Lithuanian art are excluded. The birth of veduta and its popularity in Lithuania are reviewed. It is attempted to search for ideological and historical basement of this creation also. Comprehensive formal, comparative and semantic analysis of the documental and imaginative iconography ere given. It is trying to establish the documentary value, correspondence to real architectural view, of the views by requesting these instruments. Field investigation, old photography, and written sources were used for analysis. Imaginative architecture views are treating like retrospective searches of ideal city (and are linked with ideal landscape) or like artistic reconstruction suggestions. The possibilities and probabilities of these retrospective views are valuating, analogues... [to full text]
Bouveresse, Clara. "L'invention d'une académie : Magnum Photos, 1947-2015." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H001.
Full textFounded in 1947 by a group of entrepreneurial photographers, Magnum Photos, amythic institution in the world of photography, is more than a cooperative.Throughout the second half of the 20th century, it remained a prestigious model for the whole profession, claiming its excellence and promoting a canon of exceptional images. More than a mere agency, may Magnum be seen as an academy, a prestigious institution whose access is controlled by peers? The concept of an “academy” brings together the economic evolution of a business, the analysis of the pictures produced,the account of numerous debates amongst photographers, and the story of their collective dreams.This dissertation offers to retrace Magnum’s history, based on the study of unpublished archives. The first part investigates the sources of the academy, starting with the dissemination of Magnum’s myth and the first ten years of existence, when the agency was at one with the post-war cosmopolitan world. The second part analyzes the academic renewal from the end of the 1950s until 1981. It explores there-rooting of concerned photography into the memory urge of the 1960s; thecooperative dialectics, which divided and reconciled Magnum members; and the cynical answer to the conformist and commercial threats of the 1970s. The third part demonstrates how the academy claims its everlasting fame from 1981 until today,establishing itself both as a heritage landmark and an online reference; it alsointerrogates the history of women within Magnum.This dissertation sheds new light on a little-known stage of photographs’ production.Magnum is a nodal point defining the economic value of images, their legal status,their commercial, journalistic, documentary and artistic uses within circulation and legitimating networks. As an exchange platform shared by many authors, it invites us to rethink, within the context of a digital and collaborative economy, the history and the role of the “commons”
Lyonblum, Ely Zachary Small. "An omnivorous ear : the creative practice of field recording." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/265801.
Full textFlagg, Tracy Claire. "In Ruins: Nostalgia and Melancholia in the Photographs of Yves Marchand and Romain Meffre, 2005-2013." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396533009.
Full textHurd, Danielle Jean. "Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2635.
Full textColtelloni, Anne. "Le documentaire comme forme symbolique." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00812350.
Full textToluta'u, Talita. "Talanoa matala 'oe fonua : an exegesis submitted to AUT University for the degree of Master of Arts (Art and Design), 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/503.
Full textLeedy, Alison J. "Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197472.
Full textM.A.
Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series Throughout this thesis project I examine the geopolitical context(s) of the photographs featured in Martha Rosler's 'In the Place of the Public Airport Series' (1983) and Allan Sekula's series, 'Sketch on a Geography Lesson' (1982). I investigate the manner in which they question the legitimacy of the genre of documentary photography within the post-modern age by emphasizing the documentation of an actual physical place, presenting an alternative to the post-modern notion of photograph merely as another component of simulacra, or the intentional creation of an image without meaning or origin. By looking at photographs that Rosler and Sekula made during the burgeoning stages of post-modern theory, presents a broader interpretation of the development of Marxist documentary photography from the early 1980's to today. One way in which I dialogue with the discourse surrounding documentary photography in the 1980's is to focus on Rosler's and Sekula's intentional choice of material that emphasizes the political dialogue rather than concepts that are abstract and maintain no reference to real life. Furthermore, the period of the 1980's is considered a point in contemporary art history when the political fervor of the 1960's and early 1970's diminished greatly. Departing from this trend, Rosler's and Sekula's work continues to address political ideas throughout the 1980's, creating a bridge to today's photographers, such as Edward Burtynsky and Andreas Gursky who consider aesthetics from a socio-political perspective.
Temple University--Theses
Steen, Paula Alzugaray van. "O artista como documentarista: estratégias de abordagem da alteridade." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-15072009-221515/.
Full textAs its object of investigation, this research looks at the appropriation of documentary narratives and strategies by the contemporary artist. It looks to trace a specific map of the actions of the artist documentarist starting from three conditions common to the fields of art and the documentary: displacement, participation and fabulation. The aim is to observe how these forces develop in works by artists active in Brazil today, among them Mauricio Dias and Walter Riedweg, Rosângela Rennó and Janaina Tschäpe. Far from covering the totality of the ethical and poetical body of these artists works, the research points to activities that combine fieldwork, invention of situations and the reinvention of documentary protocols. In analyzing and questioning the importance of the documentary image as evidence, and in adapting this image to uses that are subjective, personal, conceptual, etc., the documentary artist establishes a new platform for documentary practice, bringing about a revision of the ways of reading and representing otherness and reality.
Petzwinkler, Thomas. "Behind the Fire Line." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd_retro/121.
Full textCarvalho, Ananda. "Documentário-ensaio: a produção de um discurso audiovisual em documentários brasileiros contemporâneos." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5121.
Full textConselho Nacional de Desenvolvimento Científico e Tecnológico
The present research castes some elements to map the specificities of the essay-documentary. The Brazilian documentary s production has grown progressively in the last two decades, however a part of it no longer limits itself to a reproduction of the reality, characteristic traditionally associated to that type of production. In order to study those new works, this Master s Dissertation broadens the documentary concept to essay-documentary , acknowledging it as a subjective reflection about the world. That perspective is an unfolding of the concept of film essay, from Arlindo Machado, which reaches the productions that overpass the limits of the documentary and do not ties to the dichotomy between fiction and non-fiction or to the concern with a truth as a mirror of the reality. About the essay, it is adopted the concept of Theodor Adorno, which refers to the construction of an experimental and not totalitarian speech. To think the documentary as audiovisual, it gets back to Jean-Claude Bernadet, which contrasted that feature in the Brazilians contemporary documental productions. It is chosen to study the construction of that writing through the montage or the conceptual editing. To understand the montage, it returns to the concepts proposed by Serguei Eisenstein and Dziga Vertov, and followed by the video language according to Philippe Dubois and Arlindo Machado, until it arrives to the concept of metamedium and of montage as a spatial composition, proposed by Lev Manovich. At last, in order to consolidate the essay-documentary, it is chosen works which allowed establishing a dialogue between the theoretical perspectives approached. In this sense, it is presented an analysis divided in three sub themes: the montage of the visual speech, the montage of the sonorous speech and the symbolic montage. Each one of those sub themes is approached from a key-documentary, with the aim of realizing a reflection more deepen: Andarilho (Cao Guimarães), Sonoroscópio SP: polifonia da imigração (Kiko Goifman e Rachel Monteiro) and Nós que aqui estamos por vós esperamos (Marcelo Masagão). The selection tried to stand out production which was not restricted to the verbal as a speech composition strategy, but which adopted both images and soundtracks to build a symbolic documental writing
A presente pesquisa elenca alguns elementos para mapear as especificidades do documentário-ensaio. A produção brasileira de documentários cresceu progressivamente nas duas últimas décadas, entretanto uma parte dela não se limita mais a uma reprodução da realidade, característica tradicionalmente associada a esse tipo de produção. Para estudar essas novas obras, esta Dissertação de Mestrado amplia o conceito de documentário para documentário-ensaio , entendendo-o como uma reflexão subjetiva sobre o mundo. Essa perspectiva é um desdobramento do conceito de filme ensaio, de Arlindo Machado, que abrange as produções que ultrapassam os limites do documentário e não se prendem à dicotomia entre ficção e não-ficção ou à preocupação com uma verdade como espelho do real. Sobre o ensaio, adotamos o conceito de Theodor Adorno, que se refere à construção de um discurso experimental e não totalitário. Para pensar o documentário como um discurso audiovisual, retomamos Jean-Claude Bernadet, que constatou essa característica nas produções documentais brasileiras contemporâneas. Escolhemos estudar a construção dessa escrita através da montagem ou edição conceitual. Para entender a montagem, voltamo-nos para os conceitos propostos por Serguei Eisenstein e Dziga Vertov, e seguimos pela linguagem videográfica de acordo com Philippe Dubois e Arlindo Machado, até chegarmos aos conceitos de metamídia e da montagem como composição espacial, propostos por Lev Manovich. Por fim, para consolidar o conceito de documentário-ensaio, escolhemos obras que permitissem estabelecer um diálogo entre as perspectivas teóricas abordadas. Nesse sentido, apresentamos uma análise dividida em três subtemas: a montagem do discurso visual, a montagem do discurso sonoro e a montagem simbólica. Cada um desses subtemas é abordado a partir de um documentário-chave, com o intuito de realizar uma reflexão mais aprofundada: Andarilho (Cao Guimarães), Sonoroscópio SP: polifonia da imigração (Kiko Goifman e Rachel Monteiro) e Nós que aqui estamos por vós esperamos (Marcelo Masagão). A escolha procurou destacar produções que não fossem restritas ao verbal como estratégia de composição do discurso, mas que adotassem tanto imagens quanto trilhas sonoras para construir uma escrita documental simbólica