Dissertations / Theses on the topic 'Monteurs (Cinéma)'
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Laisney, Simon. "Quel style de montage pour le Nouvel Hollywood ?" Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030158.
Full textIn 1967, under the influence of European art films, Hollywood underwent important changes in the course of the 1960s : « Old Hollywood » was taken over by a « New Hollywood ». This process of renewal of American cinema, which has been symbolically launched by Arthur Penn’s Bonnie and Clyde and Mike Nichols’ The Graduate, is due, it has been said, to the arrival of a new – mostly film-school educated – generation of filmmakers, such as Francis Ford Coppola, Brian De Palma,George Lucas, William Friedkin, Michael Cimino, Martin Scorsese, Robert Altman, Bob Rafelson or Hal Ashby. It is also due to the arrival of a new generation of film editors who did not fear to challenge the doctrine of classical Hollywood editing and break the established rules in order to take a chance and try new ways of telling a story. These films editors are, amongst others, Dede Allen, Walter Murch, Sam O’Steen, Verna Fields, Alan Heim, Paul Hirsch, Robert C. Jones, Richard Marks, or Ralph Rosenblum. Our thesis examines the share of responsability, on both a collective and individual level, of this new generation of film editors in this process of renewal of American cinema in the 1960s and 1970’s. Its goal is, more generally, to determine and appreciate this new editing style, realize its importance and its influence on the Hollywood Renaissance style, as well as the wide range of its innovations
Beaudoin, Mathieu. "Le monteur-auteur." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2005. http://theses.uqac.ca.
Full textNavarra, Liliana. "João César Monteiro entre antropologia e ficção." Doctoral thesis, Faculdade de Cìências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/10815.
Full textA presente investigação teve como objectivo principal o desafio de abandonar as formas clássicas de interpretação dos filmes de João César Monteiro e adoptar novos princípios metodológicos que o dispositivo fílmico permite. O nosso interesse por este tema foi motivado fundamentalmente pela possibilidade de procurar diálogos e pontos de convergência entre o cinema de Monteiro, a Antropologia e a Sociologia. O fulcro desta investigação é a análise, utilizando ferramentas antropológicas e sociológicas, dos mundos que Monteiro criou na trilogia de Deus; e, ao mesmo tempo, evidenciar elementos como sons, imagens e fragmentos da realidade que o rodeavam e que, como iremos ver ao longo da nossa investigação, incluiu na trilogia. O presente trabalho divide-se em duas partes. Uma primeira parte é dedicada ao rito e ao ritual, e irá analisar a evolução da personagem João de Deus ao longo da trilogia, utilizando as teorias do rito de passagem. Na segunda parte focaremos a nossa atenção nas várias formas de transgressão da personagem, utilizando as teorias da Sociologia do desvio. Focar-nos-emos por último no simbolismo do corpo, no corpo feminino como objecto de veneração e objecto erótico. O corpo vai ser analisado, principalmente, na sua vertente antropológica e performativa e na inclinação de Monteiro para misturar o sagrado com o profano.
Denizart, Jean-Michel. "L'émergence des significations chez le monteur son, au cours de la recherche et de la sélection des sons : une approche communicationnelle et cognitive." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0303.
Full textSeveral years ago, the SATIS department of the University of Aix-Marseille and the ASTRAM laboratory initiated the development of an online sound library entitled "Sons du Sud". This sound database is intended for sound professionals and more specifically, sound editors, in the film and audiovisual sectors. The current objective is to develop a new indexing method of sound for Sons du Sud breaking with the logic of causal indexation most widely used. Indeed, it appears that, from the perspective of a filmic exploitation, a sound is rarely selected based on criteria exclusively related to its acoustic origin but also related to the potential meanings it is able to take on with the other materials of filmic expression, the functions it is likely to fulfill, the links it maintains with what the film expresses, and so on. We can then ask ourselves if it is not rather this "information potential" which the semantic descriptors used by the current sound libraries should try to make explicit. Therefore, this thesis is a preliminary step in the development of a new indexing method: in order to meet the requirements of Sons du Sud sound library, it seems essential to devote ourselves entirely to a better understanding of the contributing factors that change the "system of relevance" of its main users, to examine further what guides their approach, polarizes their listening and influences their searches and selections
Gouvea, Luzimar Goulart. "O homem caipira nas obras de Lobato e de Mazzaropi : a construção de um imaginario." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270187.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-01T17:11:25Z (GMT). No. of bitstreams: 1 Gouvea_LuzimarGoulart_M.pdf: 4641481 bytes, checksum: 646874c8d233b2f142945e30ac1f7d15 (MD5) Previous issue date: 2001
Resumo: Um confronto entre as obras de Monteiro Lobato e de Mazzaropi leva a interessantes observações sobre os procedimentos adotados na construção da figura do caipira presente na Literatura e no CinemaBrasileiros. Enquanto Monteko Lobato, ao criar o Jeca Tatu, não considera o processo histórico que criou um tipo de cultura específica dentro do corpo da sociedade brasileira, a cultura caipka, Mazzaropi, ao aproveitar a personagem de Lobato no cinema, traz contribuições importantes para que seja ouvida a voz do caipka. Lobato não considerou particularidades da cultura caipka, ignorou a expropriação das formas dessa cultura, além da expropriação das formas de economia. Mais ainda, Lobato fala a partir de seu lugar de classe e silencia a voz do caipka, por meio do procedimento de atribuição de voz, e, ao folclorizar o caipira, faz revelar a visão que a área dos ocupantes tem dos ocupados. A voz que prevalece, então, é a voz do outro, falando sobre o não ser. Numa perspectiva que considera uma dialética do "não ser e do ser outro", de Paulo Emílio Salles Gomes, a análise do filme Jeca Tatu, traz o caipka, na obra de Mazzaropi, como pertencente à área do ocupado, ocupado esse criado pelo ocupante. Mazzaropi dá voz ao caipka, propicia o encontro do representado com sua representação, e se utiliza de alguns recursos sorrateiros e eficientes na representação do caipka. A personagem filmica de Mazzaropi, Jeca Tatu, vai insem-se na "dialética da malandragem", proposta por Antonio Candido. Com a assunção da malandragem, o Jeca de Mazzaropi vai aparecer desfolclorizado, porque vivo, dinâmico e não preso a um congelamento da imagem do caipka, segundo interesses dos ocupantes. À malandragem, Mazzaropi carreia outro recurso: na instância do discurso, o Jeca acaba por "desconstruir" o lugar de fala do ocupante, com a recorrência ao riso, com a reserva para si da última palavra. Assim, o Jeca de Mazzaropi aparece com voz e pode promover um lugar de resistência dentro dojogo das forças sociais
Abstract: A confrontation between the works of Monteiro Lobato and those of Mazzaropi leads to interesting observations concerning the strategies used to build up the figure of the caipira, present in Brazilian Literature and Cinema. While Monteiro Lobato, in creating Jeca Tatu, does not take into consideration the historical process which created a kind of specific culture within Brazilian society - the caipira culture - Mazzaropi, placing Lobato's character in fihn, brings important contributions which enable the caipira' s voice to be heard. Lobato did not take into consideration particularities of the caipira culture, ignored the expropriation forms of such culture, as well as economical expropriation forms. Moreover, Lobato speaks through the voice of bis own social class and silences the caipira's voice, through the strategy of voice attribution, and, creating a folkloric representation of the caipira, reveals the view which the occupiers' area bears of the occupied ones. The voice which prevails is, then, the other's voice, speaking of the non-being. In a perspective which considers a dialectics of "not being and being another", of Paulo Emilio Salles Gomes, the analysis of the film Jeca Tatu portrays the caipira, in the work of Mazzaropi, as belonging to the area of the occupied - which is created by the OC~l1pier. Mazzaropi gives the caipira voice, enables the meeting of the represented with their representation, and makes use of some shrewd and efficient resources in the caipira' s ~sentation. Mazzaropi's film character, Jeca Tatu, belongs to the trickery dialectics proposed by Antonio Candido. With the assumption of trickery, Mazzaropi's Jeca appears image ofthe caipira, in accordance to the occupiers' interests. To trickery, Mazzaropi adds another device: in discourse, Jeca ends up deconstructing the occupier's place of speech, recurring to laughter, and reserving for himself the last word. Mazaroppi' s Jeca is, thus, given voice and able to create a resistance place within the game of social forces
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
Torres, Rubens Francisco. "Portal transmídia mundo do sítio: análise do projeto transmídia do Sítio do Picapau Amarelo e sua relação com as demais extensões da obra de Monteiro Lobato." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/5619.
Full textImportant Brazilian children's literature author, Monteiro Lobato created with his books of "Sítio do Picapau Amarelo" a universe that remains and influences the imaginary of Brazilian population until today. This universe is not restricted only to literature, it expanded also in other media over almost ninety years, through TV shows, comic books, movies, and other media. In 2011 became available online the portal "Mundo do Sítio", first transmedia project product based on the work of Lobato. Besides the portal, the design transmedia of the "Sítio" also features an animation, social networking pages and a physical themed space located in Mairiporã-SP. The present research attempts to identify how the current transmedia project was developed from a universe already known and how it leverages influences from other adaptations to reintroduce the "Sítio" to a new generation. To do this, we conducted initially a historical survey of all the productions with the brand of the "Sítio", since the publication of the books by Monteiro Lobato, and then, we analyze the portal and identify its main transmedia characteristics and their relationship with the other productions made with the brand. Transmedia design of the "Sítio" uses elements developed in other adaptations of the work of Lobato and continues the expansion of the fictional universe, re-creating your space and encouraging their users to experience a playful way of that universe. With the animation, the story is expanded; presenting new information about the universe without mischaracterize the main characteristics developed by Lobato. Through social networks, users participate actively, both to assess the functioning of the Portal and how to develop productions based on the universe of the "Sítio". Finally, the portal uses features present in the text of Lobato that work effectively in the development of a TransMedia narrative.
Importante autor da literatura infantojuvenil brasileira, Monteiro Lobato criou com seus livros do Sítio do Picapau Amarelo um universo que permanece e influencia o imaginário da população brasileira até hoje. Esse universo não se restringiu apenas à literatura, ele expandiuse também em outras mídias ao longo de quase noventa anos, por meio de seriados televisivos, histórias em quadrinhos, cinema, entre outras mídias. Em 2011, tornou-se disponível o portal online Mundo do Sítio, primeiro produto do projeto transmídia baseado na obra de Lobato. Além do portal, o projeto transmídia do Sítio conta ainda com uma animação, páginas em redes sociais e um espaço temático físico localizado em Mairiporã SP. A presente pesquisa procura identificar como o atual projeto transmídia foi desenvolvido a partir de um universo já conhecido e como ele aproveita influências de outras adaptações para reapresentar o Sítio a uma nova geração. Para isso, realizamos inicialmente um levantamento histórico de todas as produções com a marca do Sítio, desde a publicação dos livros por Monteiro Lobato e, em seguida, analisamos o portal e identificamos suas principais características transmidiáticas e sua relação com as demais produções feitas com a marca. O projeto transmídia do Sítio utiliza elementos desenvolvidos em outras adaptações da obra de Lobato e dá continuidade à expansão do universo ficcional, recriando o seu espaço e estimulando seus usuários a vivenciarem de forma lúdica esse universo. Com a animação, a história é expandida, apresentando informações novas sobre o universo, sem descaracterizar as características principais desenvolvidas por Lobato. Por meio das redes sociais, os usuários participam de forma ativa, tanto para avaliar o funcionamento do Portal quanto para desenvolver produções baseadas no universo do Sítio. Por fim, o portal utiliza-se de características presentes no texto de Lobato que funcionam de forma eficaz no desenvolvimento de uma narrativa transmídia.
Deniozou, Iris. "La restauration des films : élaboration et application de l'éthique dans le contexte technologique actuel : l'exemple de Lola Montès de Max Ophuls (1955)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010695.
Full textThis thesis proposes a deontological ethics of film restoration based on the theory of restoration of works of art and the research of numerous cinema archivists for over thirty years attempting to formulate the ethical principles that can be applied to their profession. The developed theory takes into account all of the technical history of cinema and, as such, the present condition where the cinematographic art passes from the photochemical and analogue era to the digital era. The main purpose of this work is to ascertain the extent and the way in which an ethical theory of film restoration is applicable in the current technological context. Ethical issues generated by this radical change in the film and heritage landscape are analysed; the restoration of the film Lola Montes (Max Ophuls, 1955) is chosen as a case study for this purpose. In order to construct a critical analysis of aforementioned digital project, presented by the French Cinemathèque (Cinémathèque française) in 2008, the history of this film - from its creation until its last broadcast - is extensively studied. New information concerning its particularly agitated course of life is also revealed, through consultation of yet unpublished documents. The urgency for creating a code of ethics for the detailed, accurate and contemporary restoration of films, under the aegis of international heritage bodies, the need for both technical and deontological ongoing training of the archive staff, and the importance of the development of research in older film technologies constitute the basic ideas around which this work evolves
Abreu, Rúben Sevivas. "Prédios/Montes: Autorretrato Enquanto Confinado." Master's thesis, 2021. http://hdl.handle.net/10400.6/11254.
Full textThis report describes the creative process of the film Prédios/Montes, from the initial idea to the final cut. In the first part, I pay special attention to the idea and the context in which it was born, unraveling where it came from. Then, I explore my own self as a portraitist, transforming the film into a possible self-portrait. In doing so, I expose some concepts of Art History, in particular the history of self-portraiture, as well as the conception of a portrait exploring the teachings of Francisco de Holanda. After establishing the relationship between the idea, the author, and his subsequent self-representation, I theorize about the relationship between author and spectator. Based on the answers found, I reflect on my role as a director. To this end, I call on several approaches, from Roland Barthes, Jacques Rancière and Judith Mayne, to Andrei Tarkovsky. Finally, I describe the process of creating and producing the film in a descriptive and critical way, from the script to the final work, including shooting, editing and post-production.
Teixeira, Daniel Abraão Almeida. "Veredas de João César Monteiro: da tradição oral ao cinema." Master's thesis, 2021. https://hdl.handle.net/10216/137808.
Full textSantos, José Guilherme Morato Pinto dos. "Ser tocado pela verdade sabendo que tudo é falso - A herança expressiva do cinema de João César Monteiro no cinema de Miguel Gomes." Master's thesis, 2016. https://repositorio-aberto.up.pt/handle/10216/86508.
Full textJoão César Monteiro is one of the leading names in the history of Portuguese cinema. Along his way, has developed a peculiar and easily identifiable style. Filmmaker and controversial character, Monteiro has been influencing a generation of Portuguese directors. Among them is Miguel Gomes, a contemporary portuguese filmmaker, who is building a recognized work. The aim of the dissertation is to analyze the significant legacy of César Monteiro, and the way it manifests in Miguel Gomes work, using analysis and comparison of the work of the two directors.
Santos, José Guilherme Morato Pinto dos. "Ser tocado pela verdade sabendo que tudo é falso - A herança expressiva do cinema de João César Monteiro no cinema de Miguel Gomes." Dissertação, 2016. https://repositorio-aberto.up.pt/handle/10216/86508.
Full textJoão César Monteiro is one of the leading names in the history of Portuguese cinema. Along his way, has developed a peculiar and easily identifiable style. Filmmaker and controversial character, Monteiro has been influencing a generation of Portuguese directors. Among them is Miguel Gomes, a contemporary portuguese filmmaker, who is building a recognized work. The aim of the dissertation is to analyze the significant legacy of César Monteiro, and the way it manifests in Miguel Gomes work, using analysis and comparison of the work of the two directors.
Branco, Pedro Alexandre da Cunha Cavalheiro Aguiar. "Pelos polémicos caminhos de Trás-os-Montes : um filme de António Reis e Margarida Martins Cordeiro." Master's thesis, 2017. http://hdl.handle.net/10400.14/22815.
Full textTrás-os-Montes, the first feature film directed by António Reis and Margarida Martins Cordeiro, is a Portuguese cinema masterpiece. With a controversial premiere, the film was contested both in form and in content by certain groups of the Portuguese population who did not understand the purpose of this work. A fairer reading of this film requires framing in its context as well as in the lineage of cinema in general and in particular of the Portuguese cinema. Trás-os-Montes takes advantage of the ethnographic knowledge of a region, recreating its history and generating a poetic work "fictionally documented". It illustrates the history, knowledge and customs of one of the most unknown regions of Portugal. It mixes the two types of cinema, documentary and fiction film, in a work whose classification nowadays do not represent fully the true typology of the film.
Pinto, José Miguel Nicolau. "A música e o som na Trilogia de Deus de João César Monteiro." Master's thesis, 2021. http://hdl.handle.net/10362/118014.
Full textThe set of films that constitute the Trilogia de Deus directed by João César Monteiro is considered one of his most emblematic works. In it, the director presents, in the first person, João de Deus, a character that, by refusing to live in our universe, creates its own, where he contradicts the codes of social and moral conduct that we are used to. This dissertation is the result of the audio-visual analysis done to the three movies with an emphasis in the sound and musical elements and in the interaction between them with themselves and with the remaining elements that compose the films. For this investigation, it was developed an innovative methodology based on several theoretical works like the ones of Michel Chion, James Buhler, David Neumeyer and Emilio Audissino. The film analysis, contraposed with bibliographical elements about the director’s work, with critical texts about the movies and with the texts written by César Monteiro where he exposes is opinion about what is cinema, it was possible to achieve a set of conclusions, converted in the three chapters that form the present dissertation. The almost exclusive use of pre-existing music results in a certain stylistic coherency that is clear in the three movies that constitute this saga. The scientific corpus that was already written about the work of César Monteiro is extensive and complete and his work has been gaining a new form with the growing popularity that he obtained in the academy. Nevertheless, to this day, it was not done no exhaustive study about the way music and sound are positioned in his films. With this work, we hope to give rise to a new approach of looking at this director’s cinema.
Costa, Pedro Ruas Camacho. "Do cineasta Demiurgo : uma análise da obra de João César Monteiro." Master's thesis, 2016. http://hdl.handle.net/10451/26305.
Full textThis dissertation aims to analyse the full cinematographic work of João César Monteiro, focusing on two themes that, we believe, are felt through it in a constant way: metacinema and the sacred. In his films, Monteiro stages the cinema speaking about itself, revealing the artifices of its construction, reflecting on its limits or capabilities, or referencing films by other authors, introducing cinema directly in cinema. This way, as we will show, the director creates a metacinema. As for the sacred, it manifests in his filmic corpus, for instance through references to gods, mythological or maternal creatures. However, in Monteiro’s films, both the sacred and the cinema oscillate in a paradoxical double movement: creation and counter-creation. Often, the director creates films that point to the destruction of cinema itself. And the sacred doesn’t make itself present only through the evocation of creation symbols but also through absolute transgression. Since Recollections of the Yellow House (1989), Monteiro began starring as the protagonist in most of his movies, becoming an omnipresent God, calling upon himself the role of demiurge-filmmaker and blending with his own cinema. We have divided our analysis into two chapters. In the first we will comment on all the films in which the writer-director is not the protagonist. In the second we will look into all the movies in which the filmmaker is the central figure and calls upon himself the role of demiurge-filmmaker. We will advocate how, in Monteiro’s work, the sacred and metacinema consubstantiate each other, always in a double movement: creation and counter-creation.
Caravau, Ivo Emanuel Morgado. "Dos Montes Ermos ao Alto da Fé." Master's thesis, 2021. http://hdl.handle.net/10400.6/11793.
Full textSince the reign of D. João IV, the image of the Holy Mary under its different epithets, has been adored until today. Such is the devotion of the Holy Mary that, according to Trásos-Montes legend, there are seven chapels allusive to Jesus’s Mother, located on top of the mountains in the Trás-os-Montes region, and each Virgin in each chapels is able to communicate with each other every morning. In “Freixo de Espada à Cinta”, a village in Trás-os-Montes also devoted to the Holy Mary, doesn’t agree with the legend and affirme that “Nossa Senhora dos Montes Ermos” is one of the seven sisters of the legend. Therefore, in “Freixo de Espada à Cinta” is belived that, in one morning when preparing the chapel of “Senhora dos Montes Ermos”, dirt was found in the dress of the image, thus supposing its jorney to visit her hermitages sisters. “Nossa Senhora dos Montes Ermos” remains in its sanctuary, located on “S. Brás’s” montain, about 3 km from “Freixo de Espada à Cinta” and when occurs the festivities in “Freixo de Espada à Cinta”, the image goes around the village, and its main streets in procession. On the last day of the festivities, the image returns to the sanctuary, where religious rituals take place in a more simple and humble way, due to the small space that the chapel offers and its not possible to have major celebrations there, as much as they would like to have. We don’t know exactly how much of this is true or not about the facts, however, this dissertation of Master’s Degree in Architecture proposes the revitalization of the Sanctuary of “Nossa Senhora dos Montes Ermos” with the main purpose to provide to all of the devotees all the conditions to worship and have all of the religious rites and provide “Senhora dos Montes Ermos” to be once more part of the sisterhood of the 7 virgins.
Ferrão, Ana Carolina Vaz D´Antas. "POR DETRÁS DA LENDA DO GAVIÃO." Master's thesis, 2021. http://hdl.handle.net/10400.26/38965.
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