Tesis sobre el tema "Documentary and fiction"
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1
Pedri, Nancy. "Factual matters, visual evidence in documentary fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63610.pdf.
2
Steinbach, Katherine. "Documentary adaptation: non-fiction transformations via cinema and television". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5643.
Resumen
Documentary and docudrama practices have expanded with increasingly convergent media. Cinema, television, and the web conspire to create new vehicles of information and entertainment. Footage is manipulated, reenacted, and narratively altered for viewers who must negotiate flexible and porous parameters of fact and fiction. Bill Nichols began a conversation about documentary’s “blurred boundaries” that has continued and intensified with scholars such as John Corner, Steven Lipkin, Alan Rosenthal, Vivian Sobchack, Derek Paget, and Jonathan Kahana. Documentary and docudrama techniques must be more closely scrutinized and categorized, with particular focus on the importance of reenactment and reflexivity.
A phenomenon that illustrates explicit interaction between documentary footage and fictional affect has remained undefined. My project proposes a new term, “documentary adaptation,” to explain the use of documentary films or television programs as source material for a fictional retelling. Films such as Rescue Dawn (2006), Grey Gardens (2009), Devil’s Knot (2013), or Loving (2016) have an uncanny and indeed literary relationship to previous documentary films conveying the same story. My research reads, theorizes, and contextualizes these adaptations. I note industrial and audience demand for narrative that engages with familiar facts. These unique dramas are sites of affective engagement with history as well as contemporary journalism. The project employs cinema and media studies terms and techniques to analyze documentary adaptation, to interpret a distinct merger of cinema and television aesthetics. This dissertation revises the dilemmas of documentary and reveals an invention to confront a new era of flexible media.
3
Enticknap, Leo Douglas Graham. "The non-fiction film in post-war Britain". Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302538.
4
CRINITI, STEPHEN FRANCIS. "NAVIGATING THE TORRENT: DOCUMENTARY FICTION IN THE AGE OF MASS MEDIA". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1189530451.
5
Donica, Joseph Lloyd. "Disaster's Culture of Utopia after 9/11 and Katrina: Fiction, Documentary, Memorial". OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/460.
Resumen
This dissertation examines the cleared spaces after disaster and the way the rhetoric of utopian projects is taken up by corporate and privatizing ventures to mask projects that seek to shut down participation in the public sphere. Chapter one argues that there are mechanisms within societies that can push against these forces by promoting a cosmopolitan sensibility that protects the commons and respects the alterity of the Other. Such mechanisms have theoretical roots in the thinking of Robert Nozick and Fredric Jameson but have been rethought more recently by Bruce Robbins, Jean-Luc Nancy, and Seyla Benhabib. I read literature alongside documentaries and memorials to discover the way cultural texts model these methods of pushing back against neoliberal projects in the wake of 9/11 and Katrina by bringing ethics, as Emmanuel Levinas does, into "real world" situations. Projects that co-opt the commons after disaster convey a imitative cosmopolitanism that can be counteracted through giving agency to those who do not have it, constructing communities of access for the future, supporting a form of public mourning that promotes critique, and protecting post-disaster spaces from becoming only tourist destinations. Chapter two looks to the way the 9/11 fiction of Moshin Hamid, Claire Messud, Alissa Torres, Paul Auster, and Jonathan Safran Foer models a cosmopolitanism that repairs the self's relationship to the Other by allowing the Other an agency previously unavailable before 9/11. Chapter three examines how When the Levees Broke, Trouble the Water, Kamp Katrina, Katrina Ballads, A.D.: New Orleans after the Deluge, and Zeitoun foreground the vulnerability of Gulf Coast residents by linking their vulnerability to the nation's now damaged ecological relationship to the coast. Chapter four explores the cultural memory at a range of 9/11 and Katrina memorials in New York, Washington D. C., and along the Gulf Coast in order to find memorials that reinvigorate the commons by melding public mourning with critique. The epilogue examines the larger implications of my dissertation for the field of American studies in examining the culture of disaster that has arisen in the past decade.
6
Cohen, Grégory. "Un cinéma de recherche entre fiction et documentaire : retour sur une expérience de film autour des relations filles-garçons avec des jeunes d’une cité HLM". Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLE018.
Resumen
En partant d'une recherche filmique sur les jeunes et l'amour dans un quartier populaire, cette thèse, entre sciences sociales et cinéma, recherche et création, soulève une question de société - comment les jeunes composent avec les normes sociales imposées par leurs groupes d'appartenance ? - et une question de cinéma - en quoi le détour par la fiction et l'improvisation permet d'enquêter sur des réalités sociales et d'imaginer d'autres façons de travailler avec les enquêtés ?Elle est basée sur une enquête ethnographique de plusieurs années dans un quartier ouvrier et d'immigration de la région parisienne (Les Mureaux, Yvelines), ainsi que sur des ateliers cinéma et le tournage d'un film (La cour des murmures) entre fiction et documentaire avec des jeunes habitants âgés de 15 à 20 ans.Dans cet espace où l'interconnaissance est très développée et chacun veille à sa réputation, les jeunes montrent difficilement leurs sentiments et sont souvent contraints de jouer un rôle social. Nous avons voulu étudier la spécificité de cette présentation de soi théâtrale, qui est à la fois une contrainte – l'injonction à adopter une attitude propre à la morale du quartier – et un mode de survie et de résistance, puisqu'elle permet aussi d'échapper aux regards des autres et de manière plus large aux normes sociales qui pèsent sur ces jeunes.Le film est l'occasion de créer un espace de parole privilégié qui permet la réflexivité. Il devient alors un moyen de co-construire la recherche avec les filmés et de sortir des représentations dominantes sur les jeunes des quartiers populaires.L'écrit revient sur les questions de société et les questions de cinéma qui ont habité cette recherche. Il rend compte de la pensée à l'œuvre dans le film, aussi bien sociologique que cinématographique. Il revient sur ses conditions de fabrication, ses choix de réalisation, ses inspirations théoriques, les « moments de vie cinématographiques » qui ont émergé dans cette rechercheStarting from a filmic research on young people and love in a working-class neighborhood, this thesis, between social sciences and cinema, research and creation, raises a question of society - how young people deal with the social norms imposed by their groups of belonging? - and a question of cinema - how does the detour through fiction and improvisation allow us to investigate social realities and to imagine other ways of working with the surveyed ? It is based on a multi-year ethnographic survey in a working-class and immigration district of Paris suburbs (Les Mureaux - Yvelines), as well as on film workshops and the shooting of a film (The court of whispers) between fiction and documentary with young inhabitants aged 15 to 20 years old. In this space, where acquaintanceship is highly developed and each ensures his reputation, young people have difficulty showing their feelings and are often forced to play a social role. We wanted to study the specificity of this theatrical self-presentation, which is both a constraint - the injunction to adopt an attitude specific to the morality of the neighborhood - and a mode of survival and resistance, since it also allows to escape the eyes of others and more broadly the social norms that weigh on these young people. The film is an opportunity to create a privileged space of speech that allows reflexivity. It becomes a way of co-constructing research with the filmed and to release dominant representations of young people from working-class neighborhoods. The writing goes back to the social issues and cinema issues that have led this research. It reflects the thought in the film, both sociological and cinematographic. He goes back on his conditions of fabrication, his choices of realization, his theoretical inspirations, the "moments of cinematographic life" that emerged in this research
7
Smith, Elizabeth Ann. "Ecstatic Truth through Fiction: Re-framing the Science Film to Engage a Wider Audience". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/smith/SmithE0507.pdf.
Resumen
Americans obtain a majority of their information about science through science films, primarily in the form of documentaries on television. However, despite the recent proliferation of these films, there is much discussion in the science filmmaking community about how ineffective these films have been lately at informing the public about science and compelling viewers to act. It is time to look at the underlying definitions of the genre from a different perspective and determine whether the current standards are the best way to successfully convey messages about science to the widest audience. To explore the possibilities for increasing the effectiveness of science filmmaking, one needs to look at the basic assumptions that come into play during the process of producing science films by re-framing the major components of the science film: goals, subject matter, audience, and format. This new set of paradigms reveals the possibility of another avenue - fiction.
8
Hinchliffe, Ian. "The documentary novel : fact, fiction or fraud? : an examination of three Scandinavian examples of the documentary novel from the 1960s and 1970s". Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8034.
Resumen
This study seeks primarily to examine three Scandinavian examples of the documentary novel. Initially I endeavour to isolate certain purported characteristics of the genre as a whole by considering which aspects of a narrative have prompted the critics to call it a 'documentary novel'. I then examine the three works in detail, applying standard techniques of literary criticism and comparing the facts on which the novels are based with the novels themselves to determine what makes them 'documentary' and what makes them 'novels'. The three novels share common techniques and all deal with the subject of Scandinavian polar exploration, but the author's relationship and attitude to the facts he has at hand are sufficiently different in each instance to permit a discussion of the literary form, ambitions and potential of the 'documentary novel'. The evidence suggests that the documentary novel uses authentic historical material but presents it through the techniques and forms of creative literature: the novelists adapt documented facts to support a view of a history which typically differs from accepted tradition. I then show that the conclusions to which this unorthodox view points, however, are invariably the same as those the authors draw about life in their other, non-documentary fictional works. Finally I demonstrate how the documentary novel is a fluid form which can be used in the service of fact, fiction or fraudulent propaganda, and I suggest a definition that embraces the three novels examined and the three kinds of documentary fiction that they represent.
9
BRASIL, BRUNA RAFAELA VEIGA. "FICTION, DOCUMENTARY AND HISTORICAL NARRATIVE: A CASE STUDY OF SOCIAL REPRESENTATION OF KIDNAPPING OF BUS 174". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18792@1.
Resumen
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO propósito deste trabalho consiste em analisar o espaço ético nas representações sociais do cinema brasileiro contemporâneo. Para compreensão dos limites entre ficção e documentário, e entre filme baseado ou inspirado em fatos reais, tomam-se para análise comparativa o documentário e a ficção realizados sobre a rendição armada do ônibus 174 por Sandro do Nascimento, em junho de 2000: Ônibus 174(2002), de José Padilha e Última parada 174 (2009), de Bruno Barreto. Estes filmes constroem discursos sobre o local (a cidade do Rio de Janeiro) de múltiplos pontos de vista transnacionais, o que nos leva ao questionamento sobre o olhar estrangeiro na construção da representação do local. Para a análise dos filmes propõe-se aplicar o conceito de axiografia, desenvolvido por Bill Nichols, não só a obras classificadas como documentários, mas também às ficções baseadas em fatos reais.
The purpose of this work is to analyze ethical space on social representations of contemporary Brazilian cinema. For understanding of the boundaries between fiction and documentary, and between film based on or inspired by real facts takes to benchmarking the documentary and fiction made about bus 174 rendition armada by Sandro birth in June 2000: bus 174 (2002), José Padilha and last stop 174 (2009), Bruno Barreto. These films are building speeches about the location (the city of Rio de Janeiro) multiple viewpoints transnational, raising questions about the look abroad in construction of local representation. For the analysis of films proposed to apply the concept of axiografia developed by Bill Nichols not only the works classified as documentaries, but also to fictions based on real events.
10
Gurses, Seyda Aylin. "'I Just Wanted You to Know': War Testifies through the Camera". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/483.
Resumen
This work is a textual analysis of selected documentary films whose common theme is the inevitable discrepancy between the realities of the Vietnam and the 2003 Iraq War from the perspectives of the veterans and soldiers, and the assumed reality that is constructed in the media. It is at this point that the inextricable link between documentary cinema and reality proved fundamental to the developing discourse of the entire study ahead. Since the manner in which the world is both transformed and depicted strongly depends upon the tools available to the director, the technological innovations and the emergence of portable cameras, by granting the documentary filmmaker flexibility, irreversibly solidified this link between non-fictional act of narrating and its approach and proximity to reality. Four works that are picked among a large body of documentary films are Winter Soldier (1972) directed by Winter Collective; Gunner Palace (2004) directed by Petra Epperlein and Michael Tucker; Full Battle Rattle (2008) directed by Tony Gerber and Jesse Moss and finally Standard Operating Procedure (2008) directed by Errol Morris. Even though the films are historically ordered, this study's concern is to be systematic thematically than chronologically. In the course of these analyses, discussions of notions like reality and truth, the relations of the makers of the films, the camera and editing process to the subjects of the films, will naturally emerge, as will issues related to the political and social roles of documentary cinema.
11
Moore, 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/.
Resumen
This thesis explores the relationship between cinematic techniques and forms of knowledge in the non-fiction film. The purpose of many documentary films is to convey knowledge about the world to the viewer. But the degree of emphasis on this function varies enormously from film to film. The kind of knowledge that a documentary provides also shifts depending on what formal strategies it employs. The films produced by Harvard’s Sensory Ethnography Lab (SEL), claimed by some commentators to represent a radical new form of documentary filmmaking, often eschew the epistemic and didactic function that is often associated with the documentary in favour of providing a more immediate, intimate and sensuous representation of particular locales and environments. Their emphasis on the material, physical, affective and sensuous qualities of lived experience suggests that SEL filmmakers are interested in conveying a different kind of knowledge, one that cannot be reduced to words or easily communicated with propositional statements. This thesis contributes to and expands upon existing scholarship on the relationship between film form and knowledge production and transmission, and counters the discourse of newness that has surrounded the SEL, by analysing the relationship between the cinematic techniques and ways of knowing of a number of important precursors to two of the lab’s key works: Lucien Castaing-Taylor and Ilisa Barbash’s Sweetgrass (2009) and Castaing-Taylor and Véréna Paravel’s Leviathan (2012). Finally, this thesis provides new analyses of these two SEL films, informed by this historical overview. It argues that the different ideas about the epistemological function of the moving image embodied in the earlier filmmaking activity have fed into the philosophy and praxis of these two films. Finally, the study concludes that the kind of knowledge that Sweetgrass and Leviathan convey can be thought of as an ‘embodied knowledge’, and it argues that it is through the use of what Laura Marks calls ‘haptic’ audiovisual strategies that these films are able to convey this kind of knowledge.
12
Henric, Lise. "Les nouvelles stratégies de promotion, de distribution et de diffusion d’un documentaire français : le cas particulier du docufiction à la télévision (2000-2014)". Thesis, Paris 2, 2015. http://www.theses.fr/2015PA020013/document.
Resumen
Suite au succès mondial de la série documentaire "Sur la Terre des Dinosaures", six millions de téléspectateurs, diffusé sur la chaîne anglaise BBC en 1999 et face aux attentes des téléspectateurs, un nouveau genre a fait son apparition dans les années 2000 à la télévision française : les docufictions. Ce genre hybride mélangeant fiction, grâce à des scènes de reconstitution, la présence d’acteurs et à un scénario préétabli, et codes du documentaire, constitués de témoignages, d’images d’archives ou de schémas scientifiques et de la présence de la voix-off, a su s’imposer, au fil des années, comme un genre à part entière. Ce travail propose d’étudier l’émergence du docufiction en France et suit son évolution dans le panorama télévisuel. Nous menons notre interrogation à partir de l’analyse du premier docufiction français diffusé sur France 3 en 2002 :"l’Odyssée de l’Espèce". Grâce à cette étude, nous abordons les différents genres propres au docufiction et nous délimitons les limites et les apports du genre. Nous mettons également en évidence la place de l’archive dans les docufictions. En effet, les archives, étant la vision de l’auteur, ne sont -elles pas le reflet de leur propre monde ? Cette recherche est une étude prospective qui vise à proposer des solutions. En effet, de nombreux téléspectateurs n’ont pas les outils nécessaires afin de différencier la fiction des faits réels. Nous nous attachons donc à développer des recommandations aux divers acteurs : les producteurs, les diffuseurs, les réalisateurs et les téléspectateursResponding to the public’s expectations and following the 1999 BBC English Channel success of "Walking With Dinosaurs" watched by six millions of viewers, anew genre emerged in the 2000s on the French television : the docufiction.This hybrid genre has achieved a particular recognition over the years establishing itself as a whole new genre. It is a mix of fiction with rebuilt scenes, actors playing fictitious scenarios and a mix with traditional documentaries based on testimonies, images from archives, scientific materials as well as a voice over to guide the public.This doctoral thesis offers to study the emergence of the docufiction and its evolution in France. We will begin our analysis with "A Species Odyssey", the first French docufiction broadcasted on France 3 in 2002. Thank to this study we will bring out the different kinds of docufiction, their limitations and their contributions to the genre. We will also highlight the importance of archives in docufictions. However, if we consider archives convey the author’s vision, we can thus wonder whether they reflect the author’s own world or not.This research is a prospective study aimed at finding solutions. As a matter of fact, many viewers are not able to distinguish fiction from reality. Accordingly, we will focus to provide recommendation to the different members such as producers,broadcasters, directors and audience
13
Calderon, Sandoval Orianna Aketzalli <1987>. "Visualising In/Equalities through Contemporary Documentary Cinema. A Diffractive Reading of Feminist Practices in Spanish and Italian Non-Fiction Films". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/9087/1/Calderon_Orianna_Tesi.pdf.
Resumen
This thesis brings together feminist documentary film theory and feminist new materialism(s) to describe how feminist material-discursive practices in a sample of Spanish and Italian documentary cinema made between 2013-2018 (can) visualise gender in/equalities. The accomplished objectives have been: 1. Building a bridge between feminist documentary film theory and Karen Barad’s diffractive methodology by approaching non-fiction cinema that deals with social inequalities as a diffraction apparatus. 2. Developing a feminist toolbox for a response-able gaze by gathering different insights from feminist film theory. 3. Identifying feminist material-discursive practices in a sample of documentary films produced in Spain and Italy over the last six years (2013-2018). 4. Analysing the effects that these feminist material-discursive practices in documentary cinema have, particularly in terms of visualising gender in/equalities on both sides of the camera and on both sides of the screen. 5. Revealing patterns between the ten case studies by reading through one another (i.e. diffractively) insights raised in each one of them.
In ten documentary films/case studies, I identify patterns of continuities and differences concerning feminist material-discursive practices at four levels: content, form, production and reception. In terms of contents, I detect two patterns in which feminist material-discursive practices may operate: enacting the right to appear or enacting the right to look back and/or against the grain. As for the forms, I exemplify how feminism politicises Bill Nichols’s six modes of representation. My analysis of production practices is elaborated along the filmmakers’ self-positions/situatedness, tensions/obstructions, and effects/affects/emotions regarding four key concepts: documentary cinema, equality, gender and feminism(s). And in the case of reception practices, I identify patterns of affective identification and/or intellectual reflections.
14
Crawford, Jim D. "“Inside Story”". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500092/.
Resumen
Inside Story explores the essence of story and attempts to connect the audience to the significance of story in their own lives. The documentary examines story and determines the elements necessary for its formation. The film investigates the psychological aspects of story, inspects the physiological processing of story that connects story to the way we think and perceive, and finally, emphasizes the functions and values of story.
15
Lima, Giovanna C. "When Women Kill". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2385.
Resumen
The media is one of the strongest influences on how society views the criminal justice system and all actors therein. This is especially true for offenders of violent crime. Notably, women who kill are rare. However, when women do murder someone, the media tends to over expose them and portray them in different ways. The current study is intended to examine how the media portrays women murderers. In particular, this research is focused on how fictional and true crime programs portray female killers. Do they portray them in a positive or negative light? Do they portray them realistically? Are true crime shows more realistic than fictional crime shows? Each of these questions was explored and it was found that true crime programs, even though not wholly realistic, do portray women much more realistically than fictional shows. It is important to study these portrayals in order to understand how women killers are portrayed, how society views and interprets these particular criminals, and what are the steps necessary in order to prevent and change the way media process this crime.
16
Mott, Elizabeth Joy. "A Case Study of the Impact of Filmmaker Decisions in the Construction of a Documentary: Helen Whitney's (2007) The Mormons". BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2412.
Resumen
Informed by theories of media framing, exemplification, and non-fiction film production, this case study used as its sample for textual analysis the typed transcripts from the final cut of Helen Whitney's (2007) documentary film, The Mormons, and the interview transcripts of the 15 key commentators interviewed for the documentary. These theories suggest that (a) media producers condense topics in the media by selecting information that connects news stories to a larger context and imbues them with symbolic value; (b) verbal and visual examples have been shown to be more easily retrieved in memory than abstract ideas and are consequently judged by audiences to be more common in the real world; and (c) expository non-fiction films are organized in ways that convey objectivity, belying their constructed nature. With the aid of NVivo (2002), the themes in each text were identified and compared in order to evaluate which themes about Mormons were given salience in the film and which themes were de-emphasized in the film. It was found that the themes about Mormons' unusual commitment to their faith, as well as the Mormon Church's historical conflict in the United States and more recently with disaffected church members were accentuated in the film; the film did not equally incorporate the themes of LDS Church officials' self-description of Mormon beliefs and social practices. By coupling a close examination and comparison of the texts with the filmmaker's own personal statements about the making of the film, this thesis suggests that Helen Whitney constructed the film through a process that gave voice to minority viewpoints, challenged institutional or ecclesiastical authority, and favored complexity. As a result of these decisions, for example, the film perpetuated confusion about whether Mormons are Christians, the 19th-century LDS practice of plural marriage, and the current treatment of homosexuals within the LDS Church.
17
McKinney, Kelli. "The Luxury of Tears: A Secondary Survivor's Story". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2273/.
Resumen
As the written accompaniment for The Luxury of Tears, a twelve-minute documentary video exploring the emotional impact of sexual assault on male survivors and their partners, this document examines the visual texts of both the fiction and nonfiction genres. Specifically, I contend that fiction film manufactures male survivorship with regard to rape events in such manner which contributes to the thematization of social silence. Such silence perpetuates the feminization of rape as a social problem, and dissolves the development of male survivor resources. A discussion of production processes, challenges, and resolutions is included.
18
Bastos, Thalita Cruz. "O documental e o ficcional no cinema de Eduardo Coutinho". Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5204.
Resumen
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorDocumentário e ficção estiveram separados por longo tempo. A produção documental contemporânea tem explorado a relação que sempre existiu entre documental e ficcional apesar de ambos serem vistos como opostos. A obra do documentarista Eduardo Coutinho é um exemplo de como a mudança de ponto de vista em relação à ficção tem mudado no documentário. Elementos como a narrativa subjetiva indireta livre, a noção de fabulação, a visão do documentário como um dispositivo relacional e os deslocamentos no campo que apontam para um documentário expandido são desenvolvidos neste texto. A descrição e análise de três filmes de Eduardo Coutinho representativos dos deslocamentos do documentário em relação a si mesmo, à ficção e ao experimental é realizada a fim de exemplificar o desenvolvimento de uma outra linguagem para o documentário. A combinação da base teórica apresentada com as análises dos filmes confirmam essa tendência à experimentação do documentário contemporâneo, constituindo novas estéticas e poéticas de realização do documentário.
Documentary and fiction have been separated for a long time. The contemporary documentary production has been exploring the relationship which has always existed between documentary and fictional even though both are seen as opposites. The work of documentary filmmaker Eduardo Coutinho is an example of how the change of point of view towards fiction has changed in the documentary. Elements such as free indirect subjective narrative, the notion of story-telling, the vision of the documentary as a relational device and the displacements in the field that point to an expanded documentary are developed in this text. The description and analysis of three films directed by Eduardo Coutinho representing the displacements of the documentary towards himself, towards fiction and towards experimental is conducted to illustrate the development of another language for the documentary. The combination of the theoretical basis presented to the analysis of the films confirms this trend to experimentation of contemporary documentary, forming new aesthetic and poetic realization of the documentary.
19
Caprioli, Mariana da Silva [UNESP]. "Análise do discurso literário: proposta de metodologia no processo de análise documental de textos narrativos de ficção". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/152778.
Resumen
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
A Ciência da Informação é articulada na produção, organização e uso da informação, onde a organização se importa, também, com a representação da informação e da mesma forma, sabe-se que a Análise Documental se preocupa com a representação, podendo, assim, articular a Análise do Discurso enquanto parte dela. Partindo disto, a Análise do Discurso Literário mostra-se pouco utilizada e se refere à análise de textos literários com base na Análise do Discurso e seus conceitos, levando em conta que um discurso literário permite que seus dizeres possam ser considerados sob uma enunciação dada por uma posição sócio histórica e os enunciadores se revelam substituíveis. Como objetivo geral teve-se a intenção de propor elementos para realizar uma experiência tendo a Análise do Discurso como metodologia para decodificar formações discursivas que auxiliassem o processo de análise documental de textos narrativos de ficção. Nos específicos averiguou-se a aplicabilidade da Análise do Discurso como metodologia de análise na literatura; se destacou a importância da análise de textos literários em comparação de textos científicos; analisou-se os contos “O Sapatão”, “Que Vidinha”, “A Mensagem”, “Dois Açucareiros” e “Capitu” de Dalton Trevisan, para resolução das questões levantadas; realizou-se a comparação das análises realizadas com as representações encontradas em outras unidades de informação para a observação da representação que seria melhor recuperada e traçou-se um paralelo entre as formações discursivas e formações ideológicas com o regime de informação. Tem a Análise do Discurso de matriz francesa como metodologia, com a intenção de mostrar que seus conceitos são aplicáveis no projeto proposto. Contos do autor foram analisados para a observação de termos e assuntos que pudessem representar a obra e comparou-se com unidades de informação escolhidas para a observação da representação ali encontradas. Como resultados, pode-se afirmar que os objetivos foram alcançados e a Análise do Discurso se mostra uma metodologia viável para a análise em literatura, possibilitando uma abertura para estudos e parâmetros futuros na área. Observou-se que os textos narrativos de ficção podem ser melhor representados se analisados sob a ótica da Análise do Discurso, possibilitando, assim, uma melhor recuperação e uso dos documentos.
Information Science is articulated in the production, organization and use of information, where the organization cares, also, with the representation of the information and in the same way, it is known that the Documentary Analysis is concerned with the representation, articulate Discourse Analysis as part of it. From this, the Literary Discourse Analysis is rarely used and refers to the analysis of literary texts based on Discourse Analysis and concepts, considering that a literary discourse allows its sayings might be considered under an enunciation given by a partner position social and historical and enunciators are revealed replaceable. As a general objective, it was proposed to propose elements to carry out an experiment with Discourse Analysis as a methodology for decoding discursive formations that would aid the process of documentary analysis of fictional narrative texts. In the specifics the applicability of Discourse Analysis was analyzed as methodology of analysis in the literature; the importance of analyzing literary texts in comparison with scientific texts was emphasized; the tales “O Sapatão”, “Que Vidinha”, “A Mensagem”, “Dois Açucareiros” e “Capitu”, by Dalton Trevisan were analyzed for the resolution of the issues raised; a comparison of the analyzes carried out with the representations found in other information units was carried out to observe the representation that would be better retrieved and a parallel was drawn between the discursive formations and ideological formations with the regime of information. It has the Discourse Analysis of French matrix as methodology, with the intention of showing that its concepts are applicable in the proposed project. Tales of the author were analyzed for the observation of terms and subjects that could represent the work and was compared with units of information chosen for the observation of the representation found there. As results, it can be affirmed that the objectives were reached and the Discourse Analysis shows a feasible methodology for the literature analysis, allowing openness for studies and future parameters in the area. It was observed that fictional narrative texts can be better represented if analyzed from the perspective of Discourse Analysis, thus enabling a better retrieval and use of the documents.
FAPESP: 2016/05842-8
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Hauser, Brian Russell. "Haunted Detectives: The Mysteries of American Trauma". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227020699.
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Silva, Mary Land de Brito. "Revelando os Brasis : o objeto assumindo o papel do sujeito em um projeto de inclusão audiovisual". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284081.
Resumen
Orientador: Nuno Cesar Pereira de AbreuDissertação (mestrado) - Universidade Estadual de Campinas, Institutot de Artes
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Resumo: Expressar-se através do audiovisual tem sido uma forte característica da contemporaneidade. O acesso a novas tecnologias, cada vez mais fáceis de manusear e mais baratas, funciona como incentivador do uso deste código de comunicação nas mais diversas situações. E é dentro dessa realidade que surge, em 2004, o Revelando os Brasis, um projeto do Ministério da Cultura que dá aporte técnico, preparatório e financeiro para que moradores de municípios com até 20 mil habitantes possam transformar uma história real ou ficcional em um vídeo digital de até 15 minutos. É o Brasil se mostrando de dentro das diferentes culturas que aqui coexistem, valorizando as milhares de identidades que formam esse país. Em cada edição do projeto, até agora foram realizadas três, quarenta moradores de pequenas comunidades de todo o Brasil têm a possibilidade de mostrar a sua cultura com a intimidade de quem a vivencia. Aqueles que historicamente tiveram sua realidade retratada através da figura "do outro", limitando-se a um papel de objeto, têm a oportunidade de mudar de postura e assumir o papel de sujeito do discurso. Enquanto realizadores, são os donos do poder. O poder de mostrar suas tradições, valores, conceitos e manifestações através do seu olhar, o olhar de quem vivencia a realidade que se propõe transformar em código audiovisual. E os vídeos produzidos por essa nova geração de realizadores se tornam um importante patrimônio material e social da diversidade cultural brasileira. É de praxe, que os curtas do Revelando os Brasis participem dos principais festivais e mostras de cinema e vídeo de todo o Brasil, possibilitando que milhares de cidadãos brasileiros possam conhecer a cultura, as personalidades, as lendas e histórias que normalmente não têm espaço na grande mídia. Dentre os realizadores, a convivência com outras 39 pessoas de saberes e costumes tão variados se transforma em outra grande riqueza do projeto. Projeto que deixa como principal herança, não só um rico acervo audiovisual da cultura brasileira, mas também cidadãos com uma auto-estima mais elevada e um sentimento de capacidade mais aflorado. O Revelando os Brasis pode ser visto como um importante projeto de inclusão com resultados que efetivamente ultrapassam o universo audiovisual.
Abstract: Express themselves through the audiovisual media has been a strong feature of the contemporary. Access to new technologies, which each day are cheaper and easier to handle, works to encourage the use of this code of communication in diverse situations. It is within this reality that appears, in 2004, Revelando os Brasis, a project of the Ministry of the Culture which gives technical and financial support for residents of municipalities with less than 20 thousand people so they can make a 15 minutes video of a real or a fictional story. It is Brazil showing itself within the different cultures that coexist here, valorizing the thousands of identities that form this country. In each edition of the project, so far were three, forty residents of small communities throughout the country have the opportunity to show their culture with the intimacy of those who experienced it. Those who have historically had their reality portrayed by the figure "of the other", limited to a role of object, have the opportunity to change their attitude and assume the role of subject of the discourse. While directors, they got the power. The power to show their traditions, values, concepts and events through their eyes, the eyes of those who experience the reality that it proposes to transform audiovisual code. And the videos produced by this new generation of filmmakers become an important material and social heritage of Brazilian culture. It's custom that the videos produced by Revelando os Brasis go to major film and video festivals and exhibitions throughout Brazil, enabling thousands of Brazilian citizens to know the culture, the personalities, the legends and stories which usually have no space in mass media. Among the directors, the companionship of the other 39 people with several habits and knowledge becomes another wealth of the project. Project that leaves as the main legacy, not only a rich collection of audiovisual Brazilian culture, but also citizens with a higher self-esteem and a sense of capacity more developed. Revelando os Brasis can be seen as an important project of inclusion with results that actually exceed the audiovisual universe.
Mestrado
Mestre em Multimeios
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Lechler, Ron. "The Best Medicine". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801938/.
Resumen
The Best Medicine is an animated documentary that explores the true stories behind the live performances of stand-up comedians. The film juxtaposes live stand-up performances with candid interview footage combined with animation and illustration. Three subjects– Michael Burd, Casey Stoddard, and Jacob Kubon– discuss alcoholism, childhood abuse, and sexual anxiety, respectively. Their candid, intimate interviews reveal personal information, creating a new context with which to understand live stand-up comedy performance. This illustrates themes of finding humor in dark or painful circumstances and the cathartic nature writing and performance.
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Mazzoli, Valentina. "Le tecniche di sincronizzazione del voice-over: analisi della proposta di adattamento per il voice-over in italiano del documentario Utopia di John Pilger". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16047/.
Resumen
This dissertation focuses on the translation mode for audiovisual products known as voice-over. This practice has always been neglected by Translation Studies, in favour of more popular translation methods such as dubbing and subtitling. However, it is often ignored that voice-over is the preferred translation mode for the non-fiction genre. Moreover, it is gaining increasing popularity due to its inexpensive and fast approach, and as such it deserves more attention. Through the translation of Utopia, a documentary on native Australians by John Pilger, this study aims at providing a work pattern for voice-over translation, and a quantitative and qualitative analysis of a defining element of this translation mode: synchronization techniques. The analysis is thus based on the classification of the four different types of voice-over synchronies proposed by Franco, Matamala, and Orero (2010): voice-over isochrony, literal synchrony, kinetic synchrony, and action synchrony.
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Ebert, Sancler. "Fronteiras em discussão : pensando as interações entre ficção e documentário em Diários de motocicleta por meio da intermidialidade". Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/7966.
Resumen
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
The research aims to think over about the overlaps between fiction and documentary in the film The Motorcycle Diaries (2004) by Walter Salles, using intermediality as method. We will use the intermedial phenomena proposed by Rajewsky (2012) as methodologi cal tools, thinking about intermedial transposition, combination of media and intermedial references. So, it's possible think over what kind of reading instruction is been triggered by the film, from the perspective proposed by Odin (2012): fictivizante or documentarizante. Our interest here is to think how literature transposed into film triggers such statements, relating the use of an open script to the reality of filming and also considering the influences between fiction and documentary related to road movie. We also seek to understand instructions that the film gives to emulate the photo and refer to documentary photography in three black and white sequences and using archival footage in the end credits.
A pesquisa se propõe a refletir sobre as imbricações entre ficção e documentário no filme Diários de motocicleta (2004) do diretor Walter Salles, por meio da intermidialidade. Usaremos os fenômenos intermidiáticos propostos por Rajewsky (2012) como instrumentos metodológicos, pensando a transposição intermidiática, a combinação de mídias e as referências intermidiáticas. Dessa forma, será possível refletir quais instruções de leitura o filme estará acionando, dentro da perspectiva proposta por Odin (2012): fictivizante ou documentarizante. Interessa-nos aqui pensar como a transposição da literatura para o cinema aciona tais instruções, relacionando o uso de um roteiro aberto à realidade das filmagens e pensando também as influências entre ficção e documentário relacionadas ao road movie. Buscamos entender também que instruções o filme dá ao emular a fotografia e referenciar a fotografia documental em três sequências em preto e branco e ao utilizar imagens de arquivo nos créditos finais.
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Zenker, Kathrin-Julie. "Au bord du jeu. : Esthétiques du réel dans la création documentaire contemporaine". Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3012.
Resumen
La présente étude analyse d'un côté et sous une perspective philosophique et anthropologique, la relation de l'artiste au réel. De l'autre, elle étudie la place ontologique et esthétique de l'acteur/du performer dans l'art documentaire contemporain. Puisque toute forme de documentation est soutenue par une définition du « réel » ainsi que par le problème de sa juste « saisie », il semble indispensable d’interroger la notion de « perception » et ceci sous ses aspects ethnographiques ainsi que physiologiques. Le positionnement contemporain qui se dessine apparaît donc comme « constructiviste », à savoir que ce que nous appelons le réel y est le fruit d’une relation dialogique et égalitaire entre l’homme et les objets du monde. Cette relation s’est libérée du concept cartésien des res cogitans et res extensa qui s’opposent de façon hiérarchique. Pour l’art documentaire contemporain, ce premier constat comporte deux conséquences : d’un côté, nous observons que la rencontre de l’artiste avec le réel est tâtonnant et emprunt de doutes et que ses esthétiques relèvent du fragmentaire et de l’hétérogène. De l’autre, l’art documentaire contemporain se voit obligé d’interroger la notion du « jeu » avec les documents, notamment les limites – esthétiques comme éthiques - de la fictionnalisation. Le constat de la fonction épistémologique prépondérante du jeu au sein de l’art documentaire contemporain, représente le cœur de la présente thèseThe aim of the present thesis is on one hand, to explore the relationship between artists and reality from a philosophical and anthropological perspective and on the other hand, to describe the ontological and aesthetical position of the actor/performer in contemporary documentary art, particularly in theatre. Since any form of documentation of reality requires a definition of the real and the ways to deal with it, or to capture it, a definition of “perception” is essential, from a philosophical, ethnographical and physiological perspective. The contemporary point of view in this respect can be described as absolutely constructivist. Reality stands out as the product of a balanced communication between subject and object. Observer and observed reality are not in opposition to each other, in a hierarchical and dichotomous way as Descartes formulated it in his rationalist concept of res cogitans and res extensa, but they rather interact into a dialogue. For the contemporary documentary art this definition of reality offers two sides: on one hand, in an attitude that meets reality rather carefully and doubtfully, it results in an opened, fragmented and heterogeneous form of art. On the other hand, documentary art deals with the ethical and aesthetical problem of playing (with) the documentation. Each and every documentary artist shall constantly assess, whether and to what extend art is allowed to play with reality. However, the statement that playing with reality fulfills a unique, both epistemological and anthropological function, is definitely the subject of the present study
Die folgende Studie untersucht einerseits, aus philosophischer und anthropologischer Perspektive, die Beziehung des Künstlers zur Realität. Andererseits beschreibt sie die ontologische und ästhetische Stellung des Schauspielers/Performers in der zeitgenössischen Dokumentarkunst. Da jede Form von Dokumentation der Wirklichkeit eine Definition des Realen und den Möglichkeiten diesem zu begegnen, beziehungsweise es zu erfassen, voraussetzt, scheint es unumgänglich den Begriff der « perception » (Wahrnehmung) auf philosophische, aber auch ethnographische und physiologische Definitionen abzuklopfen. Die zeitgenössische Perspektive, die sich dabei abzeichnet, scheint unumschränkt konstruktivistisch, d.h. dass sich Wirklichkeit als Produkt einer gleichberechtigten Kommunikation beschreiben 347 lässt, auch da wo der Mensch ein Objekt wahrnimmt. Beobachter und beobachtete Realität stehen sich nicht, wie es Descartes rationalistisches Konzept der res cogitans und res extensa formuliert, hierarchisch und dichotomisch gegenüber, sondern dialogisieren vielmehr. Für die zeitgenössische Dokumentarkunst ergibt sich daraus einerseits, dass sie Wirklichkeit eher vorsichtig und zweifelnd begegnet und ihr dementsprechend im Rahmen der Kunst offene, fragmentarische und heterogene Formen gibt. Andererseits setzt sie sich mit dem ethischen und ästhetischen Problems des Spiels von oder mit Dokumenten auseinander. Ob und inwieweit die Kunst mit der Realität spielen darf, muss von jedem Dokumentarkünstler neu beantwortet werden. Die Feststellung aber, dass Spielen mit Realität eine ganz eigene, epistemologische und anthropologische Funktion erfüllt, wird anhand der vorliegenden Studie anschaulich
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Boneva, Ralitza. "Réel et représentation à l'épreuve de la fiction dans l'oeuvre de Michael Haneke". Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30072/document.
Resumen
Notre étude se propose de montrer qu'au cours des deux dernières décennies, des années 1989-2009, avec les films de Michael Haneke réalisés pour le cinéma, des innovations décisives apparaissent dans la fiction de nos jours. Des formes nouvelles bouleversent le récit, révélant ce qui, dans la fiction conventionnelle, est devenu stéréotype et mettent en cause la représentation. Des nouveaux rapports entre réel et représentation, entre visible, invisible et insupportable à voir, entre instance énonciative et spectateur entrent en jeu. De nouveaux possibles s'ouvrent sur la voie du développement de la fiction cinématographique et élargissent ses possibilités d'investigation du réel sur l'écranOur study suggests that during the last two decades, 1989-2009, with Michael Haneke's movies realized for the cinema, decisive innovations appear in the contemporary fiction. New forms upset the narrative, dispute the representation, and reveal what in the conventional fiction became stereotype. New reports between reality and representation, between visible, invisible and unbearable to see, between the instance of the statement and the spectator come into play. New possibilities open on the way to the development of the film fiction. They widen the possibilities for investigation of the reality on the screen
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Blanco, Maria Isabel. "Um documentário de afeto: espanhóis na cidade de São Paulo". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-21102010-102021/.
Resumen
O indivíduo contemporâneo é fragmentado e possui múltiplas identidades. Quantas referências culturais uma pessoa pode ter? Como essas diferentes identidades convivem entre si? Esta pesquisa acadêmica teve por objetivo utilizar o documentário como meio constituinte e significante para a reflexão sobre a construção das identidades culturais de imigrantes espanhóis na cidade de São Paulo. Para tanto, produzimos um exercício prático em formato de documentário, acompanhado de uma análise que contempla a reflexão sobre o método de produção construído durante a realização do exercício. A reflexão foi feita a partir de aproximações de métodos de produção do antropólogo David MacDougall e dos realizadores Eduardo Coutinho e Trinh T.Minh-há. Do mesmo modo, servimo-nos de alguns postulados de coleta de depoimentos da História Oral, propostos por José Carlos Sebe Bom Meihy, e dos acercamentos às memórias pessoais estudados por Ecléa Bosi. Levou-se em consideração, ainda, a hipótese elaborada no contexto do laboratório Aruanda lab.doc. Esse grupo de pesquisas, que reflete sobre as diferentes formas de produção de audiovisuais de não-ficção, postula como hipótese que não há uma metodologia única ou unificadora para o documentário, na medida em que ele tem como princípio fundante o compromisso com o real. Isso obriga ao realizador que haja adaptações dos métodos planejados às condições de realização impostas pelo mundo histórico.The contemporary man is a fragmented being with multiple identities. How many cultural references can a person have? How those different identities interact? In this academic research, documentary film was used as means of constituency and significance of the construct of the cultural identities of Spanish immigrants in the city of São Paulo, Brazil. In order to achieve that, a practical exercise in a documentary film format was conducted, and a written discussion of the method of production elected for the practice was elaborated. The reflection is based on parallels with production methods from the anthropologist David MacDougall and the filmmakers Eduardo Coutinho and Trinh Minh-ha. The analysis also profits from the Oral History collection by José Carlos Sebe Bom Meihy and from Ecléa Bosis approach to personal memories. Another source for this research was the set of hypothesis bring about in Aruanda lab.doc meetings. Aruanda is a research group, concerned with reflecting on the various forms of audiovisual production of non-fiction and documentary films. We share Aruandas main research hypothesis is that no single or unifying methodology can account for a documentary film, due to the fact that the foundating principle of documentaries is the compromise with the worlds concrete realities, which requires adaptations of the planned methods to the conditions imposed by the historic world.
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Ghasemian, Ali Aveh. "Histoire de la caméra portée dans le cinéma iranien, sous ses aspects esthétique et ontologique (1957-2016)". Electronic Thesis or Diss., Paris 10, 2020. http://faraway.parisnanterre.fr/login?url=http://www.harmatheque.com./ebook/la-camera-portee-dans-le-cinema-iranien-esthetique--sociologie-et-ontologie-72796.
Resumen
La réalité cinématographique prend une nouvelle dimension polémique dans la forme et le fond du film depuis que la caméra portée fait partie des nouvelles pratiques cinématographiques (depuis 1924). Le rapport entre la réalité et le mouvement cinématographique nécessite une nouvelle relecture via ce dispositif. Grâce au développement technologique au cours de l'histoire du cinéma, la caméra portée, à savoir dans cette recherche, à l'épaule et au poing, applique ces fonctions variées à l'image. Cependant, à ce jour il y a peu d’analyses sérieuses disponibles concernant ses fonctions sur le plan visuel, tant stylistique que conceptuel. Pour répondre à ce besoin, il est nécessaire d'envisager une vaste étude transversale sous l'axe de l'histoire de la caméra portée, sa position, ses fonctions, et son évolution au fil des années dans la mise en scène de films. Je m’attacherai particulièrement au cas du cinéma de fiction iranien. Dans ce domaine peu exploré, je me laisse transporter par la caméra portée qui gravit son chemin en retrouvant ses traces depuis le premier jusqu'au dernier film (1957-2016) dans le cinéma de fiction iranien. Suivront différentes analyses comparées de films pré et post-révolutionnaires iraniens, une mise en lumière de la différence entre la caméra portée et la caméra subjective, une partie consacrée à l’influence des autres cinémas iraniens : la Nouvelle Vague iranienne et les cinémas internationaux, l’emprise du cinéma direct sur le cinéma de fiction iranien en y précisant le rôle de la caméra portée et la mutation de ce dispositif vers le cinéma de documentaire-fiction iranien. Il conviendra enfin d'interroger le rôle de la caméra portée dans le cinéma de fiction post-Mouvement vert de 2009-2016 avec deux films iraniens, Une Séparation en 2011 et Le Client en 2016 d'Asghar Farhadi. En dernière partie de cette recherche historique, et c'est là l'esprit novateur de l'entreprise, j’analyserai ce procédé de manière ontologique grâce au mariage de l'histoire et de l'esthétique, de la théorie et de la pratique (la réalisation), du corps et de l'esprit au cinéma. De même que les fonctions esthétiques de la caméra portée sont tirées des films du corpus, leur mise en scène sera aussi étudiée selon un angle de vue ontologique. L’objectif vise à élaborer une connaissance perceptible de ce dispositif. Ce travail permettra aux acteurs du monde du cinéma et même aux cinéphiles vigilants de mieux appréhender l’utilisation de la caméra portée dans le cinéma iranien, rapporté à une tendance du cinéma internationalAbstract Subject : History of portable/handheld camera in iranien cinema under his aesthetic and ontological aspects (1957-2016) The cinematographic reality takes a new controversial dimension in the form and content of the movie since the portable/handheld camera is part of the new cinematographic practices (since 1924). The relationship between reality and cinematographic movement requires a new retrospection through this device. Through the technological development in the history of cinema, the portable camera, focused on this research, the shoulder and fist-mounted camera, applies theses various functions to the pictures. However, until now, there are few serious analyzes, available, regarding its functions, both stylistic and conceptual. To answer this need, it is necessary to consider a cross-sectional study under the based on the history of the portable camera, its position, its functions, and its evolution over the years in the movie directing. I will focus particularly on the case of iranian fiction cinema. In this little-explored area, i let myself be transported by the portable camera that ascend its path by finding its traces from the first to the last movie (1957-2016) in the iranian fiction cinéma. This will be followed by different comparative analyzes of pre and post-revolutionary iranian movies, highlighting the difference between the portable/handheld camera and the subjective camera, study on other iranians cinemas, such as : the iranian New Wave and internationals cinemas, the influence of « direct cinema » on the iranian fiction cinema by specifying the role of the portable camera and the transfer of this device to the iranian documentary-fiction cinema. Finally, we will examine the role of the portable camera in the fiction cinema of the post-Green mouvement iranien, by two films : The Separation in 2011 and The Salesman in 2016 by Asghar Farhadi. In the last part of this research, and this is the innovative spirit of the research, i will analyze this process, ontologically, through the marriage of history and aesthetic, theory and practice (film directing), body and mind in the cinema. At this section, the aesthetics functions of the portable camera trough the selected movies, at the directing aspect, are studied from an ontological point of view. The goal is to develop a perceptible knowledge of this device. This project will allow the all actors of the cinema and even the cinema lovers to better apprehend the role of the portable/handheld camera in the iranian cinema, related to a trend of the international cinema
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Sussfeld, Frédérique. "Entre expériences, récits et actions la communication du mouvement de la transition écologique traduit-elle un changement d’heuristique?" Electronic Thesis or Diss., Aix-Marseille, 2021. http://www.theses.fr/2021AIXM0069.
Resumen
La transition écologique investit le champ de la communication environnementale en mobilisant deux phénomènes communicationnels distincts, le film documentaire et des initiatives citoyennes de transition révélant certaines attitudes, renouvelant une interconnexion de notre tradition avec le vivant. En ouvrant à un élargissement de la compréhension du fonctionnement des espèces, la transition écologique inspirée de la permaculture permettrait un autre rapport à l’autre. En communication, les acteurs du mouvement de la transition se focaliseraient sur le présent dans de nombreux pays, favorisant la créativité des acteurs et assurant que les actions quotidiennes fabriqueraient le monde de demain. Développé par des individus montés en capacité sur les questions environnementales, inclusif, ce mouvement culturel s’appuierait sur différents formats de « récits », composant une communication emprunte de factuel et d’expériences sensibles. A partir d’une étude de films qui ont marqué un tournant dans le champ du documentaire écologique et de l’observation de la création d’un projet de transition sous l’approche de la permaculture, la recherche conduite en SIC selon une méthode inductive priorise l’étude des procédés mis en place par les acteurs ainsi que les processus discursifs narratifs engagés permettant l’étude des échanges intergroupes où les notions de culture, de performativité et d’acculturation sont mobilisées par les acteurs dans leur quotidien. Dans un contexte où les thématiques de la peur, de la catastrophe sont présentes autour de la communication environnementale, du mouvement de la transition écologique traduirait-elle un changement d’heuristique ?The ecological transition is investing the field of environmental communication by mobilising two distinct communicational phenomena, documentary film and transitional civic initiatives revealing attitudes that renew the interconnection between our tradition and the living world. By letting our comprehension of the way species function broaden, the permaculture-inspired ecological transition would allow for another relation to others. In communication sciences, players of the transition movement would be focusing on the present in numerous countries, thus encouraging the creativity of its protagonists based on their abilities and ensuring that daily actions would build the world of tomorrow. Developed by individuals with increased capabilities on environmental issues, inclusive, this cultural movement would rely on different narrative structures composing a communication gathering facts and sensitive experiences. From a corpus of movies that marked a turning point in the field of ecological documentary films, and the observation of a new permaculture-based transition project, the research conducted in information and communication sciences using an inductive and anthropological method prioritises the study of processes set up by the protagonists as well as the narrative processes employed, allowing to access interpersonal and inter-groups communications showing how people integrate notions of culture, performativity and acculturation in their daily lives. In a context where environmental communication calls up notions of fear, catastrophe and anxiety is the communication around the transition movement showing a change in heuristics?
30
Noonan, Michael. "Laughing & disability : comedy, collaborative authorship and Down Under Mystery Tour". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/48647/1/Michael_Noonan_Thesis.pdf.
Resumen
This thesis is an exploration of representation, authorship and creative collaboration in disability comedy, the centre piece of which is a feature-length film starring, co-created and co-written by three intellectually-disabled people. The film, entitled Down Under Mystery Tour, aims to entertain, and be accessible to, a mainstream audience, one that would not normally care about disability or listen to disabled voices. In the past, the failure of these voices to reach audiences has been blamed on poor training, marginal timeslots and indifferent audiences. But this project seeks an alternative approach, building collaboration between disabled and non-disabled people to express voice, conceive, construct and produce a filmed narrative, and engage willing audiences who want to listen.
31
Strömberg, Daniel. "Film om film : En analys av dokumentärfilmer om fiktionsfilmer". Thesis, Linköping University, Department of Thematic Studies, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2044.
Resumen
This thesis is a study of documentaries about fictional feature films. The development of the DVD format has contributed strongly to their massive increase in quantity. The capacity of the format enables film companies to include more material than the feature film itself. As some people regard this type of documentary as self-righteous and presumtious, others think of it as a great educational aid giving the audience a greater understanding of the intentions of the director and others involved, thus adding more levels to the experience of watching movies. By using established theory on documentary I’m trying to find distinctive features of ‘documentary on fiction’.
I uppsatsen studeras dokumentärfilmer som behandlar spelfilmer. Det är en företeelse som växt starkt i och med lanseringen av det nya videoformatet DVD. Formatets kapacitet har möjliggjort att man kunnat inkludera mer material än bara själva filmen. Idag är det nästan självklart att man på något sätt dokumenterar arbetet med en film, men man gör det på många olika sätt och med olika syften. Det finns många åsikter om denna typ av dokumentär. Vissa röster hävdar att de endast kan vara självförhärligande och partiska, medan andra anser att de ger fiktionsfilmer ett större djup och tittaren en ökad respekt och förståelse för verket.
Jag vill med min undersökning hitta kännetecken för dokumentärfilmer om fiktionsfilmer och detta gör jag med hjälp av etablerad dokumentärfilmsteori. Genom analysen diskuterar jag bland annat filmernas funktion, problematik och relation till fiktionsfilmen.
32
Merino, Serrat Imma. "Subjectivitat i autorepresentació en el cinema d'Agnès Varda". Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/109378.
Resumen
Agnès Varda ha deixat empremtes visibles de la seva subjectivitat en una filmografia desenvolupada pràcticament en sis dècades. El propòsit és abordar el conjunt de l’obra cinematogràfica de Varda rastrejant-hi aquestes empremtes subjectives, lligades a una manifestació de l’autoria, a través dels comentaris escrits i dits per la mateixa cineasta inscrits en els films; i també fer atenció a les diverses formes d’autorepresentació en relació amb la projecció de la cineasta en diversos personatges de les seves ficcions i la presència física d’ella mateixa a les imatges. Analitzant aquests elements, el text vol considerar les aportacions de Varda a la modernitat cinematogràfica en la mesura que, amb una gran llibertat creativa, ha inventat noves formes posant en qüestió les convencions genèriques, entre les quals la divisió entre documental i ficció.Agnès Varda has left visible imprints of her subjectivity in her filmography developed over the last six decades. The objective of this doctoral thesis is to consider her entire cinematograghic work scrutinizing these subjective imprints and, through the filmmaker’s voice on off commentaries, linking them to a manifestation of authorship and the desire to exemplify that the world is represented through a singular point of view. Attention is called to the diverse forms of self-representation in the projection of the filmmaker through diverse characters as well as her physical presence in images. Analizing these elements, this text considers Varda’s contribution to modern cinematography to the extent that, through great creative freedom, she has invented new forms which question generic conventions, amongst them the distinction between documentary and fiction.
33
Rezaei, Rashin Maral. "To what extent are documentary films superior to fictional motion pictures?" Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-94789.
Resumen
The aim of this study was to examine if documentaries have become more superior to fictional motion pictures. By focusing on defining the categories and pointing out what their differences are, viewers get a deeper understanding of what the project wants to tell. Even viewing some popular movies that are in its field, will help the conclusion become more accurate. My main source of method will lay in literature but my main focus will be on a survey that will be provided by the answers, to the topic in hand.
34
Simard, Gilbert. "La manne bleue : scénarisation suivie de L'adaptation : du documentaire à la fiction". Master's thesis, Université Laval, 1996. http://hdl.handle.net/20.500.11794/33263.
Resumen
Nous avons fait l'adaptation cinématographique du roman La Manne Bleue qui a été qualifié par plusieurs critiques, lors de sa parution, de roman-reportage ou reportage romancé. Notre travail exhaustif de réécriture a permis d'en faire un film de fiction. Nous nous sommes servi de la méthode d'adaptation de Monsieur François Baby intitulée Du littéraire au cinématographique, problématique de l'adaptation. Cet outil de base nous a aidé à analyser l'oeuvre romanesque et à en dégager une stratégie d'adaptation. De là est né un scénario pour long métrage de fiction, qui veut mettre l'accent sur la tension dramatique vécue en contexte de cueillette de bleuets. Le processus d'adaptation cinématographique mis en oeuvre dans ce mémoire démontre bien qu'il s'agit d'une technique particulière. L'application théorique et méthodologique en cause devrait donc permettre, à sa manière, d'explorer plus à fond le champ de recherche des études de transposition cinématographique.Québec Université Laval, Bibliothèque 2018
35
Gual, Bergas Joan Miquel. "De la picota a la piqueta: el Raval com a paisatge d'excepció a la imatge de no ficció entre La bomba del Liceu (1893) i Ciutat Morta (2015)". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392134.
Resumen
La idea del Raval com un paisatge d’excepció té una provinença triple. En primer lloc, el Raval (o Barri Xino) pot ser pensat com una geografia de les diferències radicals: degut a la seva composició social resulta pertinent la reflexió sobre la norma i l’excepció, sobre els conflictes i tensions derivats de la governamentalitat envers les i els subalterns. En segon lloc, la història del barri resulta indissociable de la història de la presó i resulta un bon cas de estudi per constatar allò que Deleuze definí com el pas de la societat de la disciplina a la societat del control. Finalment, es pot parlar de paisatge d’excepció degut a que es tracta del territori barceloní més representat a la imatge de no ficció en el marc temporal establert aquí.The idea of Raval neighbourhood as a landscape of exception comes from a triple origin. First, Raval (or Chinatown) can be thought as a geography of radical differences. In this territory it is pertinent the reflection about the meanings of normative citizenship and exceptional or deviated citizenship, that is to say about conflicts and tensions caused by governmentality of the subaltern. Second, Raval’s history cannot be unlinked of Barcelona’s prison history. By this reason, it’s a good case study to check Deleuze theory about the transition from old disciplinary society to contemporary control society. Third, it’s possible to talk about landscape of exception due to the fact that Raval is the Barcelona’s neighbourhood mostly represented in non-fiction images during the period stablished in this research.
36
Santos, Segundo Carlos Antonio dos. "Encontro, condução e costura: a f(r)icção entre o diretor e o ator social nos documentários". Universidade Federal de Uberlândia, 2011. https://repositorio.ufu.br/handle/123456789/17149.
Resumen
The contact with the documentary production as director, turns out to put myself in a
privileged place within the conceptual construction on this genre of film. Being face to face
with the character and to experience its importance in the process of producing a movie made
me understand from a different point of view the stages of conception of artistic work.
Therefore, this research seeks to understand, supported by the psychoanalytic method of
interpretation, these three specific moments - meeting, conduction and sewing - of
fundamental importance for the documentary film. The director and the character within a
relationship of f (r)iction, put their subjectivities in constant shock, and it is precisely this
friction and the different paths that arises is what provides the uniqueness of this mode of
film production as complex and full of nuances. What the camera captures is something
beyond mere likeness, representation and enactment of those who cross their objective. In the
skin, under the skin of film, there is also a psychic wide world that this research tries to
highlight.O contato com a produção documental como diretor, acaba por me posicionar em um lugar privilegiado dentro da construção conceitual sobre esse gênero cinematográfico. Estar de frente com o personagem e vivenciar a sua importância no processo de produção de um filme me fez compreender a partir de um outro ponto de vista as etapas de concepção da obra artística. Portanto, essa pesquisa procura entender, tendo como suporte o método interpretativo psicanalítico, esses três momentos específicos encontro, condução e costura de fundamental importância para o filme documental. O diretor e o personagem, dentro de uma relação de f(r)icção, colocam suas subjetividades em choque constante, e é justamente esse atrito e os diferentes caminhos que surgem é que proporciona a singularidade desse modo de produção fílmica tão complexa e rica de sutilezas. O que a câmera capta algo além da simples efígie, da representação e da encenação de quem cruza sua objetiva. Na pele, na carne fílmica, há também um mundo psíquico amplo que essa pesquisa procura evidenciar.
Mestre em Psicologia Aplicada
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Girardi, Bertrand. "L'imaginaire lumineux : un corps de l'image entre fiction et documentaire : le style kubrick". Bordeaux 3, 2005. http://www.theses.fr/2005BOR30013.
Resumen
L’image, qu’elle soit picturale, photographique ou bien encore cinématographique, télévisuelle ou numérique, doit composer avec l’élément lumière. Cependant, il n’est pas question de considérer la lumière dans l’image sans faire appel à sa représentation matérialisée : le lumineux. En effet, une fois impressionnée dans le cadre, la lumière devient la réalité de l’image, un corps, c’est-à-dire une luminosité transitoire, comme une émanation entre présence et absence. Il est alors possible de constater, en suivant différents styles cinématographiques, soit un lumineux factuel, soit un lumineux d’éclairage. Ces deux grands corps lumineux appartiennent à un même objet ou sémème (le lumineux), et constituent un nouveau foyer dans l’espace de la réception. Le lumineux et son ombre peuvent-ils être d’une quelconque utilité dans la distinction complète entre fiction et documentaire ? La mise en analyse du lumineux dans les films de Stanley Kubrick propose de lire le film de fiction sous un nouveau jour, et d’appréhender le film documentaire selon de nouveaux critères. Le spectateur peut y gagner un regard neuf sur le langage filmique. De plus, la mise en avant du corps lumineux comme signe langagier de l’image soulève l’importance de l’imaginaire dans la réception du discours filmique. Prendre conscience, au travers d’une perception du lumineux, d’un rapport plus ou moins fort avec la réalité ou l’imaginaire peut aider à une meilleure connaissance du monde (mental, imaginaire ou physique)Picture which is pictural, photographic, cinematographic or televisual wathever numeric should compose with light composent. However, it is not a matter of light inside picture without colling its materialized representation : the luminous. Indead once impressed with the scope light becomes the picture reality, a materiality. That means a transitority like a emanation between presence and absence. Than we could considerer luminous factuel or luminous of lighting. These huge materialities belong to same object or sememe (luminosity) and constitute a new type of hearth in the space of reception. Can the luminous and its shadow be of an unspecified utility in the entire distinction between fiction and documentary ? The setting in analysis of luminous in Stanley Kubrick films propose to read fictionnal films under a new approach and to apprehend documentary film according to new criterials. The spectator can gain a new glance there in the filmic language. More ever, the setting in front of luminous element like signs linguistic image, rise the importance of imaginary in filmic discourse reception. Becoming conscious, through perception of the luminous of more or less relationship with reality or imaginary, can help to get a better understanding of the world (mental, imaginary or reality)
38
Alcalá, Anguiano Fabiola. "Lo irónico-sublime como recurso retórico en el cine de no-ficción de Werner Herzog. El caso The Withe Diamond, Grizzly Man y The Wild Blue Yonder". Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7266.
Resumen
El objetivo de esta Tesis es el estudio de lo irónico-sublime como figura retórica en tres filmes de no-ficción de Werner Herzog: The White Diamond, Grizzly Man y The Wild Blue Yonder. El texto esta dividido en dos partes: la primera, en la que se plantea un recorrido por los distintos contextos históricos, teóricos y artísticos que nos permiten reconocer cuáles son las características de este tipo de cine de no-ficción; una propuesta en la que lo real juega un papel más poético, y en la que la verdad que se persigue no es una verdad congruente con unos hechos determinados sino con una estética más universal.
En la segunda parte, se analiza de qué forma opera lo irónico-sublime (la principal característica del cine de no-ficción de Werner Herzog) en las distintas partes que conforman las tres películas que nos ocupan. Humor y belleza serán la clave para interpretar estas tres historias sobre el hombre, la naturaleza y sus límites.
The objective of this Thesis is to study the ironic-sublime as a rhetorical figure in three nonfiction films by Werner Herzog: The White Diamond, Grizzly Man and The Wild Blue Yonder.
The text is divided in two parts: the first one, is a review for different historical, theoretical and artistic contexts that allow us to recognize which are the characteristics of this type of non-fiction cinema; an offer in which the real plays a more poetical role, and the truth that is prosecuted is not true with a few certain facts but with a more universal aesthetics.
In the second part, it is analyzed how works the ironic-sublime (the principal characteristic of the non-fiction cinema of Werner Herzog) in the different parts that shape three movies that occupy us. Humor and beauty will be the key to interpret this three histories about man, nature and his limits.
39
Shi, Xin. "Le style poétique au cinéma : recherche en poétique à travers la réalisation du documentaire-fiction "Shangai, Nostalgie"". Paris 1, 2009. http://www.theses.fr/2009PA010533.
Resumen
Du premier essai de l'avant-garde française sur « le poème cinématographique », jusqu'au formalisme russe et Pier Paolo Pasolini en Italie, les recherches sur « le cinéma de poésie », envisagent les problématiques de la théorie cinématographique concernant le poétique au cinéma. Dans cette thèse, la conception proposée est que le style poétique est un retentissement esthétique général dans le film, débarrassé de la notion de poésie littéraire et de ses limites. Afin d'expliquer les modalités du style poétique dans le film, nous avançons qu'elles sont liées à des caractéristiques relatives à la présence subjective du rêve, du souvenir, de l'imaginaire, du soin mis à l'élaboration de l'image et de la lumière, à l'importance accordée au rythme et à la rime, à l'utilisation de l'expression indirecte comme la métaphore, etc. En outre, à travers la réalisation du documentaire-fiction « Shanghai, Nostalgie» par l'auteur elle-même, des investigations ont été mené sur le parcours de la formation consciente
40
Miljan, Vojnović. "Korelacija koncepata psihodrame i sociodrame sa rediteljskim metodom Želimira Žilnika". Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2016. https://www.cris.uns.ac.rs/record.jsf?recordId=100664&source=NDLTD&language=en.
Resumen
Uporednom analizom elemenata psihodrame i socidrame s jedne i filmske metodologije reditelja Želimira Žilnika sa druge strane, u ovom radu ukazano je na funkcionalnu korelaciju poreĊenih disciplina. Evidentna srodnost psihodrame i sociodrame sa metodologijom rada na filmu upućuje na mogućnost njihove metodološke interakcije, ĉime se ujedno i proširuje polje paradigmatskih okvira u metodološkoj praksi filmskog stvaralaštva. Strukturu rada čini osam poglavlja. U teorijskom delu dat je pregled ključnih načela i metodoloških koncepata psihodrame i sociodrame, zatim su razmatrane metodološke osnove specifiĉnog filmskog podţanra dokudrame. U prvom delu istraţivanja analiziran je autentični filmski jezik Želimira Žilnika najizrazitijeg predstavnika dokudramskog pravca kod nas, a potom su u drugom delu izvedeni zaključci o dominantnim korelativnim elementima poređenih metodologija. Ključno zapažanje koje proističe iz sprovedene komparacije ukazuje na evidentno postojanje psihodramskih i sociodramskih elemenata u specifiĉnoj metodologiji Želimira Žilnika kao dominantnih odrednica pomoću kojih autor na impresivan naĉin koristi fleksibilni potencijal dokudrame u balansu između dokumentarne i igrane forme. Specifiĉnost ovakve autorske orijentacije je da kroz kreiranje imaginarne filmske priĉe principom dramske rekonstrukcije stvarnosti ističe ono što u realnom svetu ima za podlogu indeksiĉnu proverljivost. Potvrđujući hipotezu o funkcionalnoj primenljivosti naučnih saznanja u umetniĉkom procesu, konkretno na primeru paralelizma socijalne psihologije i filma, rezultati ovog istraţivanja otvaraju mogućnost formiranja polazne osnove za dalja istraţivanja u oblasti filmologije, naroĉito u domenu dokudrame, a mogu imati pedagoške implikacije u radu sa studentima, mladim autorima, kao i sa svima koji žele da prošire svoju metodologiju primenom ovakvog specifiĉnog - interdisciplinarnog pristupa.
41
Diaz, Raúl José. "Portée esthétique et documentaire de l'oeuvre journalistique de Gabriel García Márquez entre 1980 et 1996". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030067/document.
Resumen
École de style, espace de mémoire et de réflexion, champ d’expérimentation de formes narratives, l'œuvre journalistique de Gabriel García Márquez affiche une indéniable ambition littéraire tout en gardant une valeur documentaire. En examinant les chroniques des Notas de Prensa 1980-84 et le reportage Noticia de un secuestro (1996), un constat général se dégage : la tentative de conversion esthétique que l'on trouve dans ces ouvrages vient confirmer ce qui était déjà une évidence dans la période initiale (1948-1961), la consolidation d'un espace singulier dans son œuvre se rapprochant de façon subsidiaire et non subalterne de ses travaux proprement littéraires. Cette recherche fusionnelle marque définitivement son reportage, car c'est dans ce domaine que l'investissement de la matière documentaire confine à la forme romanesque. Le facteur immuable du style serait la clé expliquant cette transposition des recours rhétoriques et narratifs dans la non-fiction. Par ce biais les échanges entre les deux domaines de son écriture s'avèrent plutôt fructueux; à terme, tous deux ciblent une vision poétique de la réalité et valident indépendamment leurs procédures de représentation. Mais cette tendance convergente n'est pas toujours exempte de zones de tension, surtout lorsque l'auteur se permet quelques écarts fictionnels dans ses chroniques. En revanche, dans le reportage qui se veut écrit comme un roman, la correspondance stricte avec l'enquête devient un impératif grandissant. Ainsi, son journalisme joue un rôle précurseur dans la presse colombienne tout en rejoignant un courant universelA stylistic school, a vehicle for recollection and reflection, an experimental field with narrative forms, Gabriel García Márquez’s journalistic works are characterised by both an undeniable literary ambition and genuine documentary value. An examination of the columns, Notas de Prensa 1980-84, and the reportage, Noticia de un secuestro [1996], leads to the following finding: the attempt at aesthetic transformation that runs throughout these works confirms what was already obvious in the initial period (1948-1961), the consolidation of a singular level in his work that approaches in a subsidiary but not subordinate manner his literary works proper. This quest can be seen definitively in all his reportage work, the area in which the approach to the documentary material borders on that of the novel form. The key to this transposition of rhetorical and narrative recourse to non-fiction would appear to be found in the style –its inalterable nature. It is in this way that the interplay between the two fields of his writing proves to be so rich; both ultimately strive for a poetical vision of reality and they independently validate their representative processes. However, this converging trend also contains some areas of tension, not least of which when the author allows himself to digress in his columns into what is nothing less than a brief sketch of a fictional work. In contrast, in the reportage intended to be written as a novel, a strict adherence to the investigation itself becomes increasingly crucial. It is in this way that his journalism can be seen as both a precursor in the Colombian press and as part of a universal current
42
Caprioli, Mariana da Silva. "Análise do discurso literário : proposta de metodologia no processo de análise documental de textos narrativos de ficção /". Marília, 2018. http://hdl.handle.net/11449/152778.
Resumen
Orientador: João Batista Ernesto de MoraesBanca: Deise Maria Antonio Sabbag
Banca: Dulce Amélia de Brito Neves
Resumo: A Ciência da Informação é articulada na produção, organização e uso da informação, onde a organização se importa, também, com a representação da informação e da mesma forma, sabe-se que a Análise Documental se preocupa com a representação, podendo, assim, articular a Análise do Discurso enquanto parte dela. Partindo disto, a Análise do Discurso Literário mostra-se pouco utilizada e se refere à análise de textos literários com base na Análise do Discurso e seus conceitos, levando em conta que um discurso literário permite que seus dizeres possam ser considerados sob uma enunciação dada por uma posição sócio histórica e os enunciadores se revelam substituíveis. Como objetivo geral teve-se a intenção de propor elementos para realizar uma experiência tendo a Análise do Discurso como metodologia para decodificar formações discursivas que auxiliassem o processo de análise documental de textos narrativos de ficção. Nos específicos averiguou-se a aplicabilidade da Análise do Discurso como metodologia de análise na literatura; se destacou a importância da análise de textos literários em comparação de textos científicos; analisou-se os contos "O Sapatão", "Que Vidinha", "A Mensagem", "Dois Açucareiros" e "Capitu" de Dalton Trevisan, para resolução das questões levantadas; realizou-se a comparação das análises realizadas com as representações encontradas em outras unidades de informação para a observação da representação que seria melhor recuperada e traçou-se um paralelo entre as forma... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Information Science is articulated in the production, organization and use of information, where the organization cares, also, with the representation of the information and in the same way, it is known that the Documentary Analysis is concerned with the representation, articulate Discourse Analysis as part of it. From this, the Literary Discourse Analysis is rarely used and refers to the analysis of literary texts based on Discourse Analysis and concepts, considering that a literary discourse allows its sayings might be considered under an enunciation given by a partner position social and historical and enunciators are revealed replaceable. As a general objective, it was proposed to propose elements to carry out an experiment with Discourse Analysis as a methodology for decoding discursive formations that would aid the process of documentary analysis of fictional narrative texts. In the specifics the applicability of Discourse Analysis was analyzed as methodology of analysis in the literature; the importance of analyzing literary texts in comparison with scientific texts was emphasized; the tales "O Sapatão", "Que Vidinha", "A Mensagem", "Dois Açucareiros" e "Capitu", by Dalton Trevisan were analyzed for the resolution of the issues raised; a comparison of the analyzes carried out with the representations found in other information units was carried out to observe the representation that would be better retrieved and a parallel was drawn between the discursive formations an... (Complete abstract click electronic access below)
Mestre
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Bérard, Catherine. "Le personnage de Sindbad le Marin études, analyses et critiques /". [S.l.] : [s.n.], 2002. http://www.enssib.fr/bibliotheque/documents/dessid/rrbberard.pdf.
44
Hosny, Raymond. "La création théâtrale contemporaine au Liban entre mémoire archivée et document fictif". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080006.
Resumen
Y a-t-il une différence entre mémoire et imagination ? Comment évoquer l’histoire d’une guerre dont les séquelles sont encore manifestes et qu’on souhaite oublier? Le théâtre répondrait-il à l’obligation de mettre à distance une telle histoire ? Entre la nécessité de se rappeler et le besoin d’oublier, la création théâtrale au Liban dans les années 2000 réveille le paradoxe de l’écriture de l’histoire de la guerre civile (1975-1990). Écrits de journaux, faits divers, photos, vidéo, Internet deviennent les matériaux du travail scénique, autant de traces qui évoquent les symptômes d’une mémoire conflictuelle, latente ou traumatisée, soulignant les méfaits de l’oubli volontaire et les influences des médias. La potentialité fictive des documents et des archives constitue les enjeux de la création, particulièrement dans les oeuvres de la compagnie Arcinolether, de Rabih Mroué et de Walid Raad. Enquêter, raconter et interroger deviennent les modalités d’un langage scénique. Ces formes narratives s’apparentent à des mises en performance et mettent en question la représentation théâtrale et le jeu de l’acteur. Dérivant d’une « dramaturgie documentaire », la scène contemporaine au Liban joue sur la frontière entre réel et fiction. Ce caractère glissant de la vérité décline des enjeux politiques et rend poreuse la relation entre témoignage et faux document. En soumettant le passé au débat, ces réalités imaginaires permettent-elles de faire le deuil d’une histoire amputée, d’engager un changement de regard vers le passé et peut-être aussi l’amorce d’une « démarche résiliente » ?What is the difference between memory and imagination ? How does one evoke the history of a war whose scars are still fresh and which one would like to forget ? Is theater able to provide other points of view of such a history ? Between the necessity to remember and the need to forget, theatrical creation in Lebanon in the 21st century points out the possibilities and limits of writing the history of the civil war (1975-1990). Newspaper articles, miscellaneous news items, photos, videos, and the internet become the materials of scenic work, palimpsestes witnessing the symptoms of a conflicting memory, latent or traumatized, underlining the misdeeds of voluntary forgetfulness and the influence of the media.The fictitious potentiality of documents and of archives highlights the stakes of creation, particularly in the works of the theater companies of Arcinolether, Rabih Mroué, and Walid Raad. To investigate, to tell, and to question become the modalities of a scenic language. These narrative forms resemble art performance and call into question theatrical representation and acting. Deriving from a "dramaturgical documentary", contemporary theater in Lebanon performs on the frontier between reality and fiction. The elusive quality of the truth has political implications and renders porous the relationship between witness testimony and false document. In submitting the past to debate, do these imaginary realities allow us to mourn an interrupted history, to introduce a new way of looking at the past, or to trigger the "process of resiliency" ?
45
Hosny, Raymond. "La création théâtrale contemporaine au Liban entre mémoire archivée et document fictif". Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080006.
Resumen
Y a-t-il une différence entre mémoire et imagination ? Comment évoquer l’histoire d’une guerre dont les séquelles sont encore manifestes et qu’on souhaite oublier? Le théâtre répondrait-il à l’obligation de mettre à distance une telle histoire ? Entre la nécessité de se rappeler et le besoin d’oublier, la création théâtrale au Liban dans les années 2000 réveille le paradoxe de l’écriture de l’histoire de la guerre civile (1975-1990). Écrits de journaux, faits divers, photos, vidéo, Internet deviennent les matériaux du travail scénique, autant de traces qui évoquent les symptômes d’une mémoire conflictuelle, latente ou traumatisée, soulignant les méfaits de l’oubli volontaire et les influences des médias. La potentialité fictive des documents et des archives constitue les enjeux de la création, particulièrement dans les oeuvres de la compagnie Arcinolether, de Rabih Mroué et de Walid Raad. Enquêter, raconter et interroger deviennent les modalités d’un langage scénique. Ces formes narratives s’apparentent à des mises en performance et mettent en question la représentation théâtrale et le jeu de l’acteur. Dérivant d’une « dramaturgie documentaire », la scène contemporaine au Liban joue sur la frontière entre réel et fiction. Ce caractère glissant de la vérité décline des enjeux politiques et rend poreuse la relation entre témoignage et faux document. En soumettant le passé au débat, ces réalités imaginaires permettent-elles de faire le deuil d’une histoire amputée, d’engager un changement de regard vers le passé et peut-être aussi l’amorce d’une « démarche résiliente » ?What is the difference between memory and imagination ? How does one evoke the history of a war whose scars are still fresh and which one would like to forget ? Is theater able to provide other points of view of such a history ? Between the necessity to remember and the need to forget, theatrical creation in Lebanon in the 21st century points out the possibilities and limits of writing the history of the civil war (1975-1990). Newspaper articles, miscellaneous news items, photos, videos, and the internet become the materials of scenic work, palimpsestes witnessing the symptoms of a conflicting memory, latent or traumatized, underlining the misdeeds of voluntary forgetfulness and the influence of the media.The fictitious potentiality of documents and of archives highlights the stakes of creation, particularly in the works of the theater companies of Arcinolether, Rabih Mroué, and Walid Raad. To investigate, to tell, and to question become the modalities of a scenic language. These narrative forms resemble art performance and call into question theatrical representation and acting. Deriving from a "dramaturgical documentary", contemporary theater in Lebanon performs on the frontier between reality and fiction. The elusive quality of the truth has political implications and renders porous the relationship between witness testimony and false document. In submitting the past to debate, do these imaginary realities allow us to mourn an interrupted history, to introduce a new way of looking at the past, or to trigger the "process of resiliency" ?
46
Landrieux, Valéry. "Les Représentations de la banlieue dans le cinéma français de fiction et documentaire, des frères Lumière jusqu'à la fin du muet : aspects idéologiques et esthétiques". Strasbourg 2, 2002. http://www.theses.fr/2002STR20005.
Resumen
L'expression cinématographique de la banlieue française a dès ses débuts (La sortie des usines) manifesté par sa présence à l'image plus que par sa description détaillée, la bonne conscience d'une civilisation qui croit dans le progrès. Puis, s'orientant vers la fiction, le cinéma français a donné à voir les environs de la capitale sous un angle strictement documentaire : ils ne servent alors que de cadre pittoresque à toute une marginalité. Avec la nécessité d'allonger le récit, la banlieue est de moins en moins explorée dans son fonctionnement propre et réel, mais de plus en plus utilisée comme une série de lieux typiques extraits librement et juxtaposés à des décors reconstitués de toiles peintes, qui, combinés à une lumière assez faiblement travaillée et à une fixité du point de vue, expliquerait pourquoi les faubourgs furent montrés dans une vision artificielle. Les personnages très stéréotypés relevant alors soit de la tendance moralisatrice (le faubourien est enlaidi), soit de la tendance populiste (il est caricaturé). Avec les séries policières, une exploitation dramaturgique de vastes décors naturels permet de mieux exprimer le fantastique de la réalité. Après la guerre, le mélodrame populiste et mondain, qui ne se préoccupe guère des nuances et des vraisemblances des personnages, mais tend de plus en plus à jouer sur la fibre sensible de l'émotionnel et du pathétique, devient la formule dominante. . .
47
Martínez, Muñoz Pau. "La cinematografía anarquista en Barcelona durante la Guerra Civil (1936-1939)". Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7526.
Resumen
La tesi doctoral tracta sobre la producció cinematogràfica realitzada pel moviment anarcosindicalista a Barcelona durant la Guerra Civil espanyola (1936-1939). Un corpus total de vuitanta tres títols, malgrat a l'actualitat només es conserven quaranta i quatre cintes i no totes complertes.La investigació està centrada en la recopilació i catalogació exhaustiva de tota la filmografia existent: reportatges de guerra, documentals de propaganda i pel·lícules de ficció. Se ha realitzat l'anàlisi de tots els films i s'ha elaborat una classificació cronològica i temàtica per establir una caracterització de la filmografia anarquista en els seus aspectes temàtics i estilístics. Finalment, s'ha fet una valoració del interès i la seva singularitat de en relació amb la cinematografia de la Guerra Civil.
La tesis doctoral trata sobre la producción cinematográfica realizada por el movimiento anarcosindicalista en Barcelona durante la Guerra Civil española (1936-1939). Un corpus total de ochenta y tres títulos, aunque en la actualidad sólo se conservan cuarenta y cuatro cintas, no todas ellas completas.
La investigación se centra en la recopilación y catalogación exhaustiva de toda la filmografía existente: reportajes de guerra, documentales de propaganda y películas de ficcción. Se ha realizado el análisis de todas las películas y se ha elaborado una clasificación cronológica y temática para poder establecer una caracterización de la filmografía anarquista en sus aspectos temáticos y estilísticos. Finalmente, se ha hecho una valoración sobre el interés y la singularidad de los filmes en relación con la cinematografía completa de la Guerra Civil.
The subject of this dissertation is the film production carried on by Anarcosindicalist movement in Barcelona during the Spanish Civil War (1936-1939). It represents a total of eighty three titles, but only forty are found today, and not all of them completed.
The investigation is centered in the recollection and exhaustive catalogation of the total existed filmography: war reports, propaganda documentaries and fiction films. The study includes an analysis of all the films and a chronological and thematic classification of the anarquiste filmography, in order to be able to establish its thematic and stylistic aspects. Finally, the dissertation also includes an evaluation of the interest and uniqueness of the films in relation to the total filmography produced during the Civil War.
48
Pedrini, Igor Aparecido Dallaqua. "A questão do aboutness em documentos narrativos ficcionais : subsídios para a análise documental de crônicas /". Marília : [s.n.], 2007. http://hdl.handle.net/11449/95533.
Resumen
Orientador: João Batista Ernesto de MoraesBanca: José augusto Chaves Guimarães
Banca: Leila Felinto Pinto de Almeida
Resumo: Partindo do questionamento acerca do tipo de informação inerente ao texto narrativo ficcional, a investigação buscou subsídios para análise documental. Foi necessário fomentar um questionamento sobre o aboutness e sua relação com a mímese e a idéia de informação como coisa de Michael Buckland. Chegando assim a evidência temática. Em seguida, conceituou-se o gênero crônica e sua forma como universo documental para a Ciência da Informação. Analisando as crônicas de Plínio Marcos, produzidas entre 1964 e 1980, observou-se a mobilidade da estrutura canônica da narrativa, a saber, manipulação, competência, performance e sanção. A complexidade da estrutura revelou a dificuldade no desenvolvimento de uma metodologia de análise. Como conjetura, aplicou-se o percurso gerativo de sentido, depois de dividir a crônica em episódios. O resultado foi a possibilidade de analisar as crônicas a partir da fragmentação de sua superestrutura e realizar um percurso de temas para encontrar a tematicidade intrínseca do documento narrativo ficcional.
Abstract: Starting from the question about the kind of intrinsical information in the fictional narrative, this research looked for data for documental analysis. It was necessary to develop a question regarding to aboutness and its relation to the mimese and the ideia of information-as-thing by Michael Buckland. Reaching by this way an evidence to a aboutness. After that, chronicle genere was classified and its form as a documental universe for the Information Science. Analysing Plínio Marcos' chronicle, that were produced from 1964 to 1980, it was noticed the mobility of the structure canonisa of the narrative, such as manipulation, competence, performance and sanction. The complexity of the structure showed the difficulty in the development of an analysis'methodology. As a conjecture, it was applied the sense developing way, after dividing a chronicle in episodes. The result was the possibility to analyse the chronicle from the fragmetation of its superstructure and create a way of themes to find the aboutness in the fictional narrative document.
Mestre
49
Pedrini, Igor Aparecido Dallaqua [UNESP]. "A questão do aboutness em documentos narrativos ficcionais: subsídios para a análise documental de crônicas". Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/95533.
Resumen
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Universidade Estadual Paulista (UNESP)
Partindo do questionamento acerca do tipo de informação inerente ao texto narrativo ficcional, a investigação buscou subsídios para análise documental. Foi necessário fomentar um questionamento sobre o aboutness e sua relação com a mímese e a idéia de informação como coisa de Michael Buckland. Chegando assim a evidência temática. Em seguida, conceituou-se o gênero crônica e sua forma como universo documental para a Ciência da Informação. Analisando as crônicas de Plínio Marcos, produzidas entre 1964 e 1980, observou-se a mobilidade da estrutura canônica da narrativa, a saber, manipulação, competência, performance e sanção. A complexidade da estrutura revelou a dificuldade no desenvolvimento de uma metodologia de análise. Como conjetura, aplicou-se o percurso gerativo de sentido, depois de dividir a crônica em episódios. O resultado foi a possibilidade de analisar as crônicas a partir da fragmentação de sua superestrutura e realizar um percurso de temas para encontrar a tematicidade intrínseca do documento narrativo ficcional.
Starting from the question about the kind of intrinsical information in the fictional narrative, this research looked for data for documental analysis. It was necessary to develop a question regarding to aboutness and its relation to the mimese and the ideia of information-as-thing by Michael Buckland. Reaching by this way an evidence to a aboutness. After that, chronicle genere was classified and its form as a documental universe for the Information Science. Analysing Plínio Marcos´ chronicle, that were produced from 1964 to 1980, it was noticed the mobility of the structure canonisa of the narrative, such as manipulation, competence, performance and sanction. The complexity of the structure showed the difficulty in the development of an analysis´methodology. As a conjecture, it was applied the sense developing way, after dividing a chronicle in episodes. The result was the possibility to analyse the chronicle from the fragmetation of its superstructure and create a way of themes to find the aboutness in the fictional narrative document.
50
Brock, Johanna. "Traduire, un jeu d'enfants? : Les enjeux de la traduction en suédois d'un livre documentaire français pour enfants". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-89003.
Resumen
The aim of this essay is to identify and find solutions to some of the difficulties occurring when translating into Swedish a French non-fiction book for children. Solid research has already been done about translating children’s literature. However, these studies often focus on novels and picture books and rarely non-fiction books. The source text used as primary material for our translation and the essay is an extract from the non-fiction book Petites et grandes histoires des animaux disparus, written and illustrated by Damien Laverdunt and Hélène Rajcak and published in 2010 by the French publishing house Actes Sud. The book presents 27 extinct animals and the history about them and their extinction. Basing this essay on research about translating for children, we will begin with an analysis of the skopos – Reiss and Vermeer’s skopos theory about aim and function – of the source and target text, to be able to conceive the translation for our target reader and the socio-cultural and linguistic context in which the reader is living. Monica Reichenberg’s study about different versions of text-books, and their effect on a Swedish child reader’s comprehension including strategies to create a dynamic and intelligible text, will then help us to find the correct translation strategy for our target text. Finally, cultural references and their translation will be discussed considering Venuti’s studies about “domestication” and “foreignization” and Oittinen’s theories about children’s literature and “domestication”. During the essay, the translator’s choices and the motivations behind them will all be discussed taking into consideration the skopos and the linguistic and socio-cultural context of the target reader.