Dissertations / Theses on the topic 'Impact of cinema on American society'

Кінематограф як складова масової культури органічно вплітається у соціологічні дослідження суспільства. Тому вивчення впливу кіно на суспільство та їх зв’язку дає можливість отримувати знання про суспільні процеси, поведінку, цінності, ідеології. Розглянувши історію кінематографу як частини суспільного життя другої половини ХХ століття, стає зрозумілим як взаємодіють та комунікують кіно та аудиторія; а розглянувши теорії та підходи до вивчення соціології кіно, стає можливим класифікувати способи впливу кінематографу на суспільство. Використавши метод візуального та дискурс-аналізу до найпопулярніших кінострічок, вироблених в період В’єтнамської війни в США, були визначені ролі, які кіно грає у суспільстві та які воно має функції, підтверджено наявність впливу та зв’язку між кіно та аудиторією. Таким чином, кінематограф відкриває доступ соціології до розгляду суспільства під іншим, унікальним кутом, який розширює межі знання про суспільство та його процеси.
Cinema as a component of mass culture is organically intertwined with sociological studies of society. Therefore, the study of the impact of cinema on society and their connection provides an opportunity to gain knowledge about social processes, behaviors, values, ideologies. Considering the history of cinema as a part of the social life of the second half of the twentieth century, it becomes clear how cinema and audience interact and communicate; and considering the theories and approaches to the study of the sociology of cinema, it becomes possible to classify the ways in which cinema affects society. Using visual and discourse analysis of the most popular films produced during the Vietnam War in the United States, were identified the roles that cinema plays in society and its functions, was confirmed the influence and connection between film and audience. Thus, cinema opens the access of sociology to the study of society from a different, unique angle, which expands the boundaries of knowledge about society and its processes.

The role of national cinema in shaping, reflecting and contesting a complex national identity that is the site of conflict and struggle is the central interest of this study of contemporary Peruvian cinema, 1988-2004. This project examines the relationship between cinema, state and identity in Peru, with a specific focus on the representation of the political violence between the state and Sendero Luminoso (Shining Path) that began in 1980. It looks in particular at portrayals of important events, characters and consequences of the bloody conflict that for a time threatened to destabilize the nation entirely. It considers these representations in the context of a time of great change for Peruvian society and of transition for Peruvian national cinema, and addresses the relationship between developments in film policy and the formation of Peruvian national identity in cinema. As such, it draws on debates about the nature and function of national cinemas, as well as on discussions between artists, cultural theorists and sociologists about the evolution of peruanidad since the declaration of independence from Spain in the early nineteenth century. Once the main elements of the cinematic and social crises have been explored and established in Chapters Two and Three, the remainder of the project consists of three sets of chronologically ordered analyses of individual films that somehow defied the national cinema crisis, and that provoked debate on both the conflict itself, and on broader questions pertaining to the relationship between national identity and violence. The conclusion considers these films as an interlinked body of cinematic works that share similar themes and concerns. It summarises the issues they tackle, the ideological and formal approaches they take to those issues, the potential social and cultural impact, and their contribution to the crystallization of a Peruvian national identity at the start of the twenty-first century.

Esta pesquisa tem como objetivo analisar a produção fílmica do cineasta norte-americano Michael Moore, tendo como questão central a relação que se estabelece entre arte e política num momento histórico que, de um lado, aponta para a crise do capitalismo e, de outro, para a fragmentação política da classe trabalhadora. A partir da análise formal de dois de seus filmes, estabelecemos uma relação com os momentos históricos que lhes deram condições de produção, a fim de compreender o método desenvolvido pelo cineasta para lidar com a crise de representação e comunicação vivida pela arte política nas últimas décadas. Os dois filmes escolhidos para tal análise são Roger e Eu (Roger & Me, 1989) e Capitalismo: uma história de amor (Capitalism: a love story, 2009). Ambos os filmes possuem diagnósticos de momentos distintos da crise do capitalismo, juntamente com a constatação de que existe um desmonte da classe trabalhadora, fruto de uma série de mudanças econômicas, políticas e culturais, especialmente ao longo da segunda metade do século XX e início do XXI. Este trabalho faz um estudo comparativo dos dois filmes, traçando as continuidades e mudanças estéticas e políticas ocorridas na obra de Michael Moore num intervalo de duas décadas, bem como sua relação com as condições de representação da luta de classes dentro da cultura norte-americana. Esta pesquisa reflete sobre o surgimento do fenômeno Michael Moore como parte de um processo de construção e desconstrução de uma tradição da classe trabalhadora norte-americana.
This research aims to analyze the film production of the American filmmaker Michael Moore, proposing as a central question the relationship established between art and politics in a historical moment which, on one side, points to the crisis of capitalism and, on the other side, to the political fragmentation of the working class. Starting from the formal analysis of two of his films, we have established a relationship with the historical moments which gave conditions of production to them, in order to understand the method developed by the filmmaker to deal with the crisis of representation and communication experienced by political art in the last decades. The two films chosen for this analysis are Roger & Me (1989) and Capitalism: a love story (2009). Both films have different diagnoses of the distinct moments of the capitalist crisis, along with the realization of the fact there is a dismantling of the working class, result of a series of economic, political and cultural chances, especially during the second half of the 20th century and early 21st century. This research makes a comparison between the two films, tracing the aesthetic and political continuities and changes in the work of Michael Moore which happened throughout two decades, as well as its relation to the conditions of representation of class struggle in American culture. This work reflects on the rise of the Michael Moore phenomenon as part of a process of construction and deconstruction of a tradition of the American working class.

Este trabalho investiga três filmes do cineasta Stanley Kubrick: Barry Lyndon, O Iluminado e Laranja Mecânica. Do fluxo incessante de imagens desses filmes buscaremos destacar aqueles que nos permitam discutir a questão da violência. Em nosso trabalho, não nos apoiaremos em um conceito prévio de violência. O que buscamos será discutir o problema que essa expressão nos reserva. Assim, acreditamos que também poderemos compreender um dos fenômenos constituintes da sociedade moderna.
This work investigate three Stanley Kubrick\'s movies: Barry Lyndon, The Shining and A Clockwork Orange. From the incessant flux of images, we\'ll try to detach those that can allow us to discuss the question about violence. In our work, we won\'t be supported in a previous concept of violence. What we\'ll want is to discuss the problem this expression represents. So we believe to be capable of to be apprehend one of the constituent phenomena of modern society.

Film distribution has undoubtedly changed during this contemporary era of media convergence, with a range of innovative practices and methods being adopted across US film and the arrival of new organisations to the industry and distribution sector. This should not suggest that conventional distribution and marketing methods are extinct, or that the traditional gatekeepers of these fields are obsolete. Rather it should indicate a merging of old and new strategies, practices, methods, and organisations, and it is through this fusion of tradition and novelty that today’s complex distribution landscape has emerged. At the forefront of many of these changes has been American independent cinema and as such, the central question posed by this thesis is: how has media convergence impacted on the distribution and marketing of American independent cinema, and how can this impact be understood in terms of wider technological, industrial and sociocultural contexts relevant to the current media landscape? In answering this, this thesis provides a comprehensive re-mapping of the distribution sector of American independent cinema, in terms of the distributors involved and methods and strategies through which films are being released, within this contemporary era of media convergence. This thesis uses the concept of media convergence as a complex and multifaceted lens that has dimensions in the technological, industrial and sociocultural realms, through which recent innovations in film distribution and marketing can be examined. Underpinning this framework is the adoption of an approach informed by the emergent media industry studies agenda (Holt and Perren, 2009; Hilmes, 2013; and McDonald, 2013). The implementation of this converged method to understanding media industries has allowed for a fluid, diverse and multi-layered assessment of the area under examination. Specifically, the thesis uses Thomas Schatz’s (2009) macro and micro level framework to examining film industries in order to identify key trends and industrial practices within American independent cinema (and, to a degree, US film at large), exploring how they relate to specific films, filmmakers and companies, within a distribution context. From this a number of key findings have emerged, including: • The identification of a new industrial structure that has facilitated a form of re-conglomeration of parts of the American independent cinema that is similar to the co-option of American independent cinema in the late 1980s and early 1990s. • The identification of new, collaborative distribution and marketing strategies being used within American independent cinema that not only seek to connect films with consumers, but also involve them, to varying degrees, in related processes. • An outline and discussion on how changes within the distribution sector have impacted on film form and consumption practices evident in this era of convergence. The thesis provides original contributions to knowledge in the fields of American independent cinema and distribution studies at large by: reconceptualising what independent film is within this contemporary period of media convergence; reframing discussions on film distribution to be more inclusive and less elitist in their scope; providing new methodological approaches to understanding the wider workings of film distribution and marketing; and demonstrating how distribution studies can be utilised to understand innovations within the fields of film production and exhibition.

The purpose of this study was to determine what, if any, impact families have on the academic achievement of African American gifted learners from low income environments. This grounded theory study was designed to explore family and student perceptions of a complex set of variables related to families and home environments. The variables explored were based on a conceptual framework developed from previous research related to social capital and its uses within families with limited economic resources. Study participants were junior and senior level high school students and their parents.;Instruments included a demographic questionnaire with open-ended questions, a researcher-developed interview protocol and the Moos Family Environment Scale. Based on the findings, certain 'social capital' resources were revealed: family cohesion; strong relationships with mothers; family to student discussions related to education and positive achievement; the role of the extended family (particularly aunts and cousins); emphasis on religious identity development; and the role of fathers are noted as having impact on school achievement. Another notable source of capital revealed was the intrinsic motivation and resilience of each of the students based on parent and student responses to interview questions.;The most pronounced findings were the role of the mother as nurturer and encourager; the flexible role of extended family members who provide additional support; the emphasis within the households on positive achievement orientation, and certain family traditions which taken together form a cohesive, supportive family environment, even in the midst of challenging life circumstances. In addition to the social capital provided by families, this study also revealed other sources of positive impact including special school-based programs and internal traits. Implications for future research include the design of a controlled study of African American families of gifted students utilizing the Moos & Moos Family Environment Scale (FES), a study of the support structure provided by mothers of gifted learners across a variety of cultural contexts, and study of the intrinsic motivation and resilience of at-risk African American gifted learners. Implications for educational practice include improving professional development for educators, family and parent education programs, and enhancing guidance and counseling programs for African American and other culturally diverse gifted learners.

Navigating body image in Asian American communities is often complicated by direct comments and criticism from family members about one’s own appearance or weight. The purpose of the proposed study is to investigate the impact of family body criticism on internalization of the thin-ideal and eating attitudes in Asian American women. Specifically, the proposed study aimed to provide evidence for a potential mediator, perfectionism, between family body criticism and eating attitudes and also family body criticism and thin-ideal internalization. Using a correlational design, an online self-report questionnaire measuring four variables will be given to a sample of Asian American college students. It is predicted that ratings of family body criticism will be positively correlated with internalization of the thin-ideal, and negatively correlated with positive eating attitudes. It is further predicted that perfectionism will mediate the relationship between family body criticism and thin-ideal internalization, such that family body criticism will be positively related to perfectionism and perfectionism will be positively related to internalization of the thin-ideal. Lastly, it is predicted that perfectionism will mediate the relationship between family body criticism and positive eating attitudes, such that family body criticism will be positively related to perfectionism and perfectionism will be negatively related to positive eating attitudes. This research may hold significant implications for the inclusion of Asian American families in the treatment process of eating disorders and brings awareness to the heightened experiences of family body criticism for Asian Americans.

The family has always been a central narrative theme in cinema. Korean cinema has been no exception, where the family has proved to be a popular subject since its earliest days. Yet Western scholarship on Korean cinema has given little attention to this dominant theme, preferring to concentrate on the film industry's recent revival and its blockbusters. Scholarship in Korea and in the Korean language, on the hand, has continuously discussed some of the major cinematic works on the family. However, such literature has tended to be in the form of articles discussing one or two particular works. A comprehensive study of the family in contemporary Korean cinema therefore remains absent both in Korean and in English. This thesis is an attempt to provide such a work, bringing together films on the family and writings on them in both Western and Korean scholarships, as well as filling the gaps where certain trends and patterns have gone undetected. How are the changes in the understanding of the family or in the roles of individual family members reworked, imagined, or desired in films? Taking this question as the starting point of the research, each chapter explores a separate theme: transformations in the structure of the family; faltering patriarchy and fatherhood; motherhood and the extremity of maternal love; and certain children's experiences of the family. The first chapter detects a general move away from the traditional patriarchal nuclear family and an interest in depicting alternative families, exploring shifting family forms in contemporary society and the public discourses surrounding them. The second chapter highlights the contradictory ways that the father has been illustrated in films during and after the IMF crisis. The third chapter explores a branch of recent thrillers that depicts mothers as dark and dangerous characters, offering an interesting cultural framing to the multiple perceptions of the mother figure in contemporary society. Finally, the last chapter aims to extend representations of the 'Korean family' to include films by/about those currently living outside of Korea, namely Korean emigrants and adoptees.

This study explores the way that visual culture and identity creates understanding about how the women in my family interact and teach each other. In the study issues of identity, liminality, border culture, are explored. The study examines how underrepresented groups, such as those represented by Latinas, can enter into and add to the discourses of art education because the women who participated have learned to maneuver through the world, passing what they have learned to one another, from one generation to the next. Furthermore, the study investigates ways in which visual cues offer a way for the women in my family to negotiate their identity. In the study the women see themselves in signs, magazines, television, dolls, clothing patterns, advertisements, and use these to find ways in which to negotiate the borderlands of the places in which they live. Although the education that occurred was informal, its importance is in creating a portal through which to self reflect on the cultural work of educating.

Dissertação de Mestrado em Estudos Americanos apresentada à Universidade Aberta
Resumo - A crescente desumanização das sociedades contemporâneas, onde o conformismo se tem instalado e o fundamentalismo e a intolerância têm vindo a desempenhar um papel cada vez mais relevante, tem-nos feito reflectir e investigar sobre as causas e consequências desta crise. Perante estes factos, pensamos que é urgente despertar perante os perigos do conformismo e retomar “The Song of Myself"1 à semelhança da Beat Generation que recriou e inovou a literatura e as artes plásticas através da introspecção, dos inner eyes of man, na década de 1950, nos Estados Unidos da América. No início deste milénio, apelar a Emerson, Whitman ou Thoreau2 e valorizar o aristocrata natural americano, o homem vulgar que é capaz de realizar coisas geniais, através da simplicidade do seu dia-a-dia, seizing the day, making lives extraordinary3, de forma consciente, é uma necessidade e um desafio. A sociedade reflecte os comportamentos, valores e pensamentos dos seus membros, o pensamento da classe dominante e, de igual modo, os seus conflitos, os movimentos discordantes e de contra-cultura. Por consequência, a literatura, as artes plásticas e o cinema propõem-nos a representação de microcosmos das sociedades a que se reportam e são testemunhos das épocas em que são criados. O cinema constitui um poderoso meio de comunicação de massas e, portanto, um veículo de transmissão de ideologias e de mensagens, razão pela qual decidimos privilegiar a sétima arte nesta dissertação, optando pela obra cinematográfica intitulada Dead Poets Society. Através da análise desta narrativa fílmica, procuramos referenciar as características da sociedade norte-americana dos anos de 1950, completando-a com uma abordagem social e cultural do filme Mona Lisa Smile. Estas duas obras cinematográficas permitem-nos reflectir sobre a essência do pensamento humanista ocidental, tradição da sociedade democrática em que estamos inseridos e na qual nos revemos e evidenciar a necessidade de manter vivo o desejo de ser man thinking
Resumé - Le déclenchement de la société contemporaine, provoqué par la forte déshumanisation, et où le conformisme s’est installé, et le fondamentalisme et l’intolérance jouent de plus en plus un rôle incontestable, nous incite à des introspections et à de longues et minucieuses investigations afin de connaître les causes et les conséquences de cette crise sociale. Nous croyons qu’il est urgent se réveiller face aux dangers éminents du conformisme et reprendre “The Song of Myself1, semblablement à la Beat Generation qui a recréé et innové la litérature et les arts plastiques à travers l’introspection des inner eyes of man, dans les années cinquante aux États Unis de l’Amérique. Au début de ce millénaire, faire appel à Emerson, Whitman ou Thoreau2, et valoriser le pure aristocrate américain – l’homme vulgaire qui est capable de surmonter de différents domaines avec la simplicité du quotidien commun, seizing the day, making lives extraordinary3- c’est nettement un besoin mais aussi un défi imposé. La societé reflète les conduites, les moeurs et les pensées de ses membres, la pensée de la classe dominante et, simultanément, ses propres conflis, les mouvements discordants et de contre-culture. Par conséquent, la littérature, les arts plastiques et le cinéma nous proposent la représentation des microcosmes des sociétés auxquelles se rapportent et ce sont de vrais témoins représentatifs des époques où ils sont créés. Le cinéma est un fort moyen de communication de masses, donc, un véhicule de transformation d’iéologies et de messages, raison pour laquelle nous avons décidé de privilegier le septième art dans cette dissertation, en choisissant l’oeuvre cinématographique intitulée Dead Poets Society. À partir de l’analyse de cette narration cinématographique, nous envisageons faire référence aux caractéristiques de la société nord-américaine des années 1950, en la complétant avec l’analyse du film Mona Lisa Smile. Les deux oeuvres cinématographiques nous conduisent vers une reflexion de la pensée humaniste occidentale et la tradition de la société démocratique, dont nous faisons partie, et où nous nous revoyons. Par ailleurs, nous manifestons le besoin de mantenir vivant le souhait d’être man thinking
Abstract - Contemporary societies where fundamentalism and intolerance are having an important role, are becoming more and more inhuman, which is the main reason why we have been investigating and reflecting upon the causes and consequences of this crisis. As far as we are concerned, it is urgent to wake up and fight against the dangers of conformity and reassume “The Song of Myself"1 followed by the Beat Generation. This movement was able to recreate and reinvent literature and arts through the introspection, the inner eyes of man, during the 1950s, in The United States of America. In the beginning of this millennium, appealing to Emerson, Whitman or Thoreau2 and value the natural American aristocrat, the ordinary man able to make brilliant things in his everyday life, seizing the day, making lives extraordinary3, consciously, it is a need and a challenge. Societies are the mirrors of behaviours, values, ideologies and thoughts of their members. They are also testimonies of the ideals of the establishment as well as the stage of conflicts and counter culture movements. Literature, arts and cinema propose representations of microcosms of societies and evidences of the historical periods they belong to. Cinema is a powerful mass media and, consequently, a way of communication of ideologies and messages and this was why we decided to analyse the film Dead Poets Society. Through this analysis we try to refer the main characteristics of the American society of the 1950s. This study is complemented by a social and cultural approach to Mona Lisa Smile movie. These two films allow us to think about the main principles of the western humanism thought, tradition of the democratic society where we belong and in which we believe and follow and try to give evidence on the need of keeping alive the wish of being man thinking

Dissertação de Mestrado em Estudos Americanos apresentada à Universidade Aberta
Resumo - Hoje em dia, o grande público tem um acesso mais imediato à História através dos filmes do que pela via da leitura e do ensino. Com efeito, o cinema converteu-se em arquivo vivo das formas do passado ou, devido à sua função social, num agudo testemunho do seu tempo e em material imprescindível para o historiador. O século passado revelou-se profícuo em conflitos bélicos, um pouco por toda a parte e os Estados Unidos não foram excepção. No espaço de uma só geração, o país participou na Segunda Guerra Mundial, atravessou meia década de crises no cenário político da Guerra Fria, participando na Guerra da Coreia e envolvendo-se no Vietname. Mas, este pequeno país no sudeste asiático impôs uma derrota intolerável, apesar da colossal desproporção de forças, primeiro face ao colonialismo francês e, posteriormente, ao imperialismo norte-americano, na luta pela sua autodeterminação e soberania. Após um silêncio pesado que se fez sentir a partir de 1973, mais precisamente desde a retirada do Vietname, as experiências traumáticas subjacentes a esta guerra surgiram no cenário cinematográfico, no final da década, com o intuito de auxiliar a sociedade americana a fazer a catarse da guerra e a cicatrizar as feridas. Nos anos de 1980, a realização de representações fílmicas sobre este conflito prosseguiu, ajudando a recuperar a confiança do país e dos seus militares, criando as condições que permitissem uma maior aceitação por parte da opinião pública, das intervenções americanas no exterior. Tendo em mente que o cinema é um testemunho da sociedade que o produziu e, portanto, uma fonte documental para a ciência histórica por excelência, esta dissertação pretende fazer uma análise histórica, política e ideológica do envolvimento americano no sudeste asiático, tendo como referente a obra cinematográfica de Phillip Noyce, The Quiet American, baseada na obra homónima de Graham Greene
Résumé - De nos jours, le public a un plus grand accès à l’Histoire à travers les films qu’a travers la lecture et l’enseignement. En effet, le cinéma s’est transformé dans les archives du passé et dû à sa fonction sociale, un témoin de notre temps et un instrument indispensable pour l’historien. Le vingtième siècle a été fécond en conflits et les Etats-Unis n’ont pas été une exception. Une génération entière du pays a participé dans la Seconde Guerre Mondiale, est passée par les crises de la Guerre Froide, a participé dans la Guerre de Corée et du Vietnam. Mais ce dernier petit pays asiatique a imposé, dans sa lutte pour l’autodétermination et souveraineté, malgré le nombre inférieur d’effectifs, une défaite intolérable, d’abord au colonialisme français et ensuite, face à l’impérialisme américain. Après un lourd silence senti à partir de 1973, surtout après la retrait du Vietnam, les expériences traumatiques de cette guerre ont surgi dans le milieu cinématographique à la fin des années 70, ayant pour but aider la société américaine a faire la catharsis de la guerre et cicatriser ses blessures. Dans les années 1980, la réalisation de films sur ce conflit a continue, aidant à récupérer la confiance du pays et de ses militaires, créant ainsi les conditions qui permettaient à l’opinion publique d’accepter les interventions américaines à l’extérieur du pays. Etant donné que le cinéma est un témoin de la société et, donc, une source de documentation pour la science historique, cette dissertation prétend faire une analyse historique, politique et idéologique sur l’engagement américain dans le sud-est asiatique, ayant comme référence l’oeuvre cinématographique de Phillip Noyce, The Quiet American, à partir de l’oeuvre homonyme de Graham Greene
Abstract - Nowadays the public has a more immediate access to History through films than through reading or teaching. As a matter of fact, cinema has become a living archive of the forms of the past or, owing to its social function, an acute testimony of its time and indispensable material to the historian. The last century has revealed prolific in wars all over the world and the United States was not an exception. Within a generation, the country participated in the Second World War, passed through half a decade of crisis in the political scenery of the Cold War, participating in the Korea War and involving itself in the Vietnam. But this small country in Southeast Asia inflicted an unbearable defeat, despite the huge disproportion of forces, firstly facing the French colonialism and later before the North-American imperialism, in the fight for its self-determination and sovereignty. After a heavy silence that was felt since 1973, more precisely since the withdrawal of the Vietnam, the traumatic experiences underlying this war came out in the filmic scenery, in the end of the decade, with the purpose of helping American society to make the catharsis of the war and to heal its wounds. In the 1980s, the production of films about this conflict went on, helping to recover the confidence of the country and of its soldiers, creating the conditions that might allow a greater acceptance by public opinion of American interventions abroad. Bearing in mind that the cinema is a testimony of society that produced it and therefore a documental source for the historical science, this dissertation intends to make a historical, political and ideological analysis of the American involvement in Southeast Asia having as object the film by Phillip Noyce, The Quiet American, based on the homonym work by Graham Greene

Thesis (M.A.)--Florida State University, 2004.
Advisor: Dr. Matt D. Childs, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed Jan. 13, 2005). Includes bibliographical references.

In the late 1990s, motion picture and television production began a process of rapid digitalization with profound implications for cinematographers in Hollywood, as new tools for “digital cinematography” became part of the traditional production process. This transition came in three waves, starting with a post-production technique, the digital intermediate, then the use of high-definition video and digital production cameras, and finally digital exhibition. This dissertation shows how cinematographers responded to the technical and aesthetic challenges presented by digital production tools as they replaced elements of the film-based, photochemical workflow. Using trade publications, mainstream press sources, and in-depth interviews with cinematographers and filmmakers, I chronicle this transition between 1998 and 2005, analyzing how cinematographers’ responded to and utilized these new digital technologies. I analyze demonstration texts, promotional videos, and feature films, including Pleasantville, O Brother Where Art Thou, Star Wars: Attack of the Clones, The Anniversary Party, Personal Velocity, and Collateral, all of which played a role in establishing a discourse and practice of digital cinematography among cinematographers, producers and directors. The challenges presented by new collaborators such as the colorist and digital imaging technician are also examined. I discuss cinematographers’ work with standards-setting groups such as the Society of Motion Picture and Television Engineers, Academy of Motion Picture Arts and Sciences, and the studio consortium Digital Cinema Initiatives, describing it as an effort to protect “film-look” and establish look-management as a prominent feature of their craft practice. In an era when digitalization has made motion pictures more malleable and mobile than ever before, this study shows how cinematographers attempted to preserve their historical, craft-based sense of masterful cinematography and a structure of authority that privileges the cinematographer as “guardian of the image."
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Resumo - Este trabalho analisa a relação entre a situação sócio-política e a indústria do entretenimento, durante o período Macartista nos Estados Unidos, e a problemática da ameaça nuclear como consequência da Guerra-Fria. É dada ênfase particular à análise comparativa das produções cinematográficas The Front e Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Esta análise pretende estabelecer a relação entre cinema e história, tendo em conta a influência exercida na sociedade pelas circunstâncias de uma determinada época e revelar o leque de ligações entre os serviços governamentais e o desenvolvimento e difusão da propaganda política, conducente ao cerceamento das liberdades individuais, criando uma época de medo e perseguição. Pretende igualmente denunciar o exagero da paranóia instalada na sociedade norte-americana em relação à ameaça real do holocausto nuclear no período da Guerra-Fria e despertar a consciência sócio-política do espectador pretendendo desenvolver o seu sentido estético através do visionamento destas duas produções de teor humorístico

Dans une société médiatique on ne peut pas définir l’intellectuel comme une personne qui simplement travaille avec les lettres; on doit le définir plutôt comme une personne qui utilise d’autres moyens de communication en cherchant la meilleure façon de critiquer la société. En regardant la problématique de la définition de l’intellectuel dans la société médiatique on étudie dans ce mémoire les films Rodrigo D. No futuro et La Vendedora de Rosas réalisés dans les bidonvilles de Medellin par le directeur colombien Víctor Gaviria. Dans les films on peut voir la vie de jeunes garçons et des enfants pour qui la réalité est faite de drogue et de pauvreté. L’étude s’étend sur trois chapitres : Dans le premier on examine l’ensemble socio-historique dans lequel les films ont été réalisés et aussi on examine le concept de « sicariato » qui a été utilisé dans des études scientifiques et des romans. Le second chapitre porte sur la problématique de la définition de l’intellectuel et sur le processus de création de Víctor Gaviria, appelé « Voluntad Realista ». Dans le troisième chapitre on examine le manifeste écrit par Víctor Gaviria « Las Latas en el fondo del río » dans le contexte historique du troisième cinéma latino-americain, dont les cinéastes ont écrit des manifestes semblables.
In a media society, we cannot define the intellectuals as a person who works only with letters. We should instead define the intellectual as one who uses different forms of communication or different media to better criticize society. Following existing definitions of the intellectual in a media society, we study in this thesis the films Rodrigo D. No futuro and La Vendedora de Rosas that were made in the shantytowns of Medellin by Colombian filmmaker Víctor Gaviria. In these films we can see the lives of teenagers and kids who live in a poor and violent society. This study is divided into three chapters. The first chapter surveys the socio-historic moments in which the films were made and looks at the concept of “sicariato” that has been used in academic studies and novels. In the second chapter we look at the problematic of the definition of the intellectual and at Víctor Gaviria’s creative process called “Voluntad Realista”. In the last chapter we study Gaviria’s manifesto “Las latas en el fondo del rio” in the historical context of Latin America’s ‘Third Cinema’, whose filmmakers wrote similar manifestos.
En una sociedad mediática no podemos definir al intelectual como una persona que se dedica simplemente a trabajar con las letras. Debemos definir al intelectual como una persona que utiliza otros medios de comunicación para buscar la mejor forma de criticar a la sociedad. Mirando la problemática de la definición del intelectual en una sociedad mediática hemos estudiado en esta memoria los largometrajes Rodrigo D. No Futuro (1990) y La Vendedora de Rosas (1999), que fueron producidos en las comunas de Medellín por el cineasta colombiano Víctor Gaviria. Estos largometrajes muestran las vivencias de jóvenes y niños que habitan en una realidad violenta llena de droga y pobreza. Nuestra investigación se articula en tres capítulos: el primero enfoca el momento socio-histórico en que las películas fueron filmadas, para luego examinar el concepto del “sicariato” que ha sido utilizado en estudios científicos y obras literarias. El segundo capítulo se adentra en la problemática de la definición del intelectual y en el proceso creador de Víctor Gaviria que llama la “Voluntad Realista”. En el tercer capítulo estudiamos el manifiesto escrito por Víctor Gaviria “Las latas en el fondo del río” en el contexto histórico del tercer cine, cuyos cineastas produjeron manifiestos similares.