Littérature scientifique sur le sujet « Plages au cinéma »

O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do iná­cio do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestá­gios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concessões ou hotéis, as sessões do cinema se fixam pouco a pouco. Enquanto o cinema ambulante anima, esporadicamente, as praças da aldeia, os cinemas são construá­dos nas grandes cidades. São eles que atraem a atenção dos administradores. O modelo dominante do entreguerras permanece, todavia, aquele dos espaços fechados, a céu aberto, protegidos por um toldo ao fundo. A diferenciação dos lugares corresponde aquela dos públicos: aos mais pobres, majoritariamente africanos, são destinados os lugares da frente. O ambiente das sessões e a experiência dos espectadores variam fortemente segundo o espaço frequentado. As sessões a céu aberto, onde são projetados, sobretudo, filmes de westerns e os filmes de ação, contrastam com aquelas do centro da cidade em que a atmosfera é mais ”civilizada”.Palavras-chave: Cinema. Colonialismo. áfrica. VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenesAbstract: The cinema had its peak during the 1950s-1970s, but what do we know about the modalities of its diffusion from the beginning of the twentieth century? This paper analyses the success of cinema, a pastime which followed European colonization, through various sources: travellers”™ accounts, newspapers, memoirs and recollections of audience members. Entrepreneurs, African or European, played a powerful role as conveyors of modernity by circulating moving images. They were photographers, engineers and merchants. At first, movie shows were sporadic events, taking place in compound yards or hotels; they gradually found permanent locations. While mobile shows sometimes animated village squares, cinemas were built in the main cities. The colonial administration focused its attention on them. But the main model between the two World Wars remained the open-air cinema, protected only at the rear by an awning. This differentiation of spaces was accompanied for the same process for the spectators. The poorest, mainly Africans, were located at the front. Therefore, atmosphere and audience experiences differed greatly. The Audience behavior at open-air shows, where Westerns and action movies dominated, contrasted with more polite behavior in downtown theaters.Keywords: Cinema. Colonialism. Africa. Visibilidad e invisibilidad de LOS cineS en áfrica colonial: reviviendo las primeras escenasRésumé: Le cinéma connait son apogée dans les années 1950-1970 mais que savons-nous des modalités de sa diffusion á partir du début du XXá¨me siá¨cle ? Cet article évoque le succá¨s précoce du cinéma, arrivé dans les bagages de la conquête coloniale, á travers les traces laissées par les récits de voyageurs, la presse ou des souvenirs de spectateurs. Des entrepreneurs, africains ou européens, jouá¨rent un formidable rôle de passeurs de modernité pour assurer la circulation des images animées. Ils sont photographes, ingénieurs, commerçants. D”™abord évá¨nements éphémá¨res, se déroulant dans les cours des concessions ou les hôtels, les séances du cinématographe se fixent peu á peu. Tandis que le cinéma ambulant anime, sporadiquement, les places de village, des cinémas sont construits dans les grandes villes. Ce sont eux qui attirent le regard des administrateurs. Le modá¨le dominant de l”™entre-deux-guerres reste toutefois celui de vastes enclos, á ciel ouvert, protégés par un auvent á l”™arriá¨re. A la différentiation des lieux répond celle des publics : aux plus pauvres, majoritairement africains, sont assignées les places á l”™avant. L”™ambiance des séances et l”™expérience des spectateurs varient donc fortement selon l”™espace fréquenté. Les séances en plein air, oá¹ sont projetés surtout des westerns et des films d”™action, contrastent avec celles du centre-ville á l”™atmosphá¨re plus policée.Mots-clés: Cinéma. Colonialisme. Afrique.

Cinema-going is a cultural experience shaped by logistics and mobility, as film distributors and exhibitors operate to enable films to be screened in places and at times when audiences can physically assemble to view them together. A historical understanding of the geography of cinema distribution, exhibition and attendance can therefore help us to understand what factors other than the choice of film title may have shaped the experience of the cinema audience. This article uses samples of trade commentary on small country cinemas in the late 1920s from the Australian trade journal Everyones, and suggests that historical GIS maps could help us to understand regional differences in the cinema-going experience, or track phenomena such as the diffusion of racial and social segregation in cinemas. Nevertheless, we need to remain mindful of the limits of maps to adequately explain the cultural experience of encountering these phenomena.

Starting with the first film shows in late 1895, Warsaw experienced a considerable rise of cinema. Like in other places worldwide, this development was conditioned as much by the place’s particularities as by the time. Thus, the article illuminates the growth and scope of the local cinema market against the larger geopolitical context. Furthermore, using a sample for 1911, it maps the cinemas in QGIS, revealing spatial patterns and correlations.

The emergence of COVID-19 has had a huge impact on people’s lives around the world. With the vaccine and the effective policies of the government, the spread of the epidemic has been effectively contained. However, in the postepidemic era, public health and epidemic protection policies have forced the transformation of public places such as movie theaters. The cinema box office monitored by the traditional monitoring platform can no longer effectively reflect the opening of the transformed cinema. To make up for the shortcomings of the traditional monitoring platform, considering the large amount of data generated by the cinemas’ online and offline platforms and public place codes, this study establishes an intelligent monitoring platform based on big data technology to monitor the opening of cinemas. The established intelligent monitoring platform can fully extract the feature information contained in numerous data collected from cinemas and output quantitative indicators that characterize the opening of cinemas based on the feature information. The performance of the established intelligent monitoring platform is analyzed through a case study. The research results show that the average relative error between the cinema opening indicators predicted by the intelligent monitoring platform and the real results is within 2%, which indicates that the intelligent monitoring platform has good prediction accuracy. In addition, the statistical analysis results show that the linear correlation coefficient between the predicted and real results is 0.9802 > 0.95, which further indicates the feasibility of the established intelligent monitoring platform to monitor the opening of cinemas in the postepidemic era.

Summary: The Catalan cinema has traditionally been confined within the limits of a linguistic ambiguity which has placed it between an industrial model accepting both Castilian Spanish and Catalan, and a model which considered that the Catalan cinema was one which solely utilized the Catalan language. Now that this debate seems finally to be over, a new debate arises which places the Catalan cinema between a model of author’s cinema, which has progressively gained cultural significance, and a commercial cinema which is trying to make its way through the American market. This debate is very much on the foreground after the Catalan cinema experienced a renaissance in quality and became much more present. Nonetheless, the cinema is located in a country which is undergoing a process of political transformation which has led it to a point where it wants to cut its ties with the administrative references of the Spanish state. This article aims to situate the Catalan cinema directly in the center of that debate, in a country, Catalonia, which is going through political and cultural transformation. [Keywords: Catalan cinema; cinema d’autor; industry; independence; avantgarde; documentary]

Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the backlash from within the industry against women who stepped in to fill vacant roles. The chapter argues that women were central to creating the emerging art-form of cinema musicianship and shaping the repertoire of cinema music during the first three decades of the twentieth century. With the coming of sound, those women who had learned the cinema organ, in the face of considerable snobbery, were also well placed to continue musical careers in Cine-Variety during the 1930s and beyond. This article looks particularly at the careers of Ena Baga and Florence de Jong who went on to play for silent films until the 1980s.

This article revisits Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975), seeking to map its nomadic trajectories through different media. I elaborate on Akerman’s notion of a ‘cinéma de ressassement’, a cinema of mulling over or chipping away. Rather than focusing on the film itself, I concentrate on two lesserknown works that explicitly return to Jeanne Dielman, functioning both as works in their own right and as paratexts, revealing the film’s processes in different but corresponding ways: the installation Woman Sitting After Killing, made for the 2001 Venice Biennale, and Autour de Jeanne Dielman, a making-of documentary shot on Portapak by Sami Frey in 1975, edited by Akerman and Agnès Ravez in 2004, and released as a special feature on the Criterion Collection DVD edition of the film. The article contends that these two ‘returns’ to Jeanne Dielman rework the complex temporalities of the film in addition to revisiting its political concerns. Autour de Jeanne Dielman places Jeanne Dielman squarely within a feminist framework through its central positioning of Delphine Seyrig’s feminist discourse. I map the ways in which ressassement exposes the processes of a feminist filmmaking concerned with disrupting ‘chrononormative’ (Elizabeth Freeman) narratives. Building on B. Ruby Rich’s characterization of Akerman’s work as a ‘cinema of correspondence’, ultimately the article asks what counts as productive labour, suggesting that Akerman’s returns to Jeanne Dielman highlight its commitment to feminist and queer failure as a productive working method.

VALIE EXPORT and Agnès Varda both made moving-image installations about ping pong (EXPORT’s 1968 Ping Pong and Varda’s 2006 “Ping Pong, Tong, et Camping”), a subject each returned to on multiple occasions in subsequent works across different media forms. Apprehending ping pong as a cinematic thing and gesture, this essay considers how EXPORT and Varda, each in her own way, unsettle and expand the rules of the game in ways shaped by their distinct, and distinctly feminist, politics. This essay explores these works and the artists’ repeated returns to ping pong by staging a “volley,” alternating between different scenes and iterations across Europe and the US, from the 1960s to the 2010s. Additional works discussed include EXPORT’s 1980s television documentary on avant-garde film, The Armed Eye, and Varda’s final two documentaries, Faces Places (2017) and Varda by Agnès (2019).

In an era of massive university budget cuts and pervasive malaise regarding the future of the humanities, cinema and media studies continue to be a growth industry. Many academic fields have been paying increasing attention to film, in terms of both curriculum development and research. Jewish studies is no exception. Since 2011, a boom in publications has included a range of new books that deal with Jews on screen, Jewish themes in cinema, and the construction of Jewish identity through film. To assess what these recent titles contribute to Jewish cinema studies, though, requires assessing the parameters of the field—and that is no easy task. The definition of what belongs is as elastic as the boundaries of Jewish identity and as perplexing as the perennial question, who is a Jew? Consequently, the field is wildly expansive, potentially encompassing the many geographical locales where films on Jewish topics have been produced as well as the multiple languages and cinematic traditions within which such films have emerged. At issue are not just numerous national cinemas, but also transnational productions and international histories. Yiddish film, for instance, was produced in Poland, the Soviet Union, the US, Argentina, and other places as well. Compounding the challenge of assessing the field of Jewish film is the fact that Jewish studies overlaps with Holocaust studies, itself a vast enterprise that has grown dramatically over the past two decades. A simple WorldCat search, restricted to scholarly books from respectable academic presses, turns up dozens of titles on cinema and the Holocaust published since the year 2000. Not surprisingly, the long-standing debates on “what is Jewish literature?” have morphed into controversy over “what is Jewish cinema”?

Although film renting began in Britain in London, the rapid spread of cinemas after 1910 meant that there was a demand for distribution closer to the sites of exhibition. As a long-established trading centre, Manchester was well placed to become the hub for Northern distribution, and local trade directories list distributors from 1912 onwards. These clustered at first near Victoria Station, but soon moved to Deansgate, as independent distributors began to outnumber branch offices of the major companies. The life-expectancy of these was short, and the First Worlds War affected their business, but they remain an important and under-researched aspect of the early British cinema business.

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This paper aims to perform a study about the interfaces established between Passa- porte, Fernando Bonassi`s literary work, and cinema, as well as their correlation with the interlocutor. Just like a film camera, the images produced in this text, capture a specific field of view, not a spatial continuum, but fragments that record a limited portion of reality, chosen by the writer, which determines a particular form of reception of the text where interpretation establishes itself between effect, which is the time conditioned by literary work, and reception, the time set by the addressee, who is requested to actively participate in the composition of the meaning of the text. From the late nineteenth century the center of interest of figurative object in literature and film, shifted from external reality to imagination of the viewer and reader, making them part of artistic creation, as seen in literary work under examination. It will be carried out the study of textual significance, which refers to the establish- ment of meaning, dissimulated by language in fictional writing, that requires an in- stance of pleasure and distress, resulting from the significant promise of what literary work keeps concealed. It will also be subject of reflection, the study of metaphorical images, in particular their correlations with the non-places, which are spaces occu- pied by human groups, without identification or bonds of coexistence with them. The world of massification constitutes these spaces, typical of modern epoch, such as shopping malls, airports, doctors' offices, are found in this literary work, thus making them one of the hallmarks of its constructive model and giving it a special current connotation.
Este trabalho tem por objetivo realizar um estudo sobre as interfaces que se estabe- lecem entre Passaporte, obra literária de Fernando Bonassi, e o cinema e, também, suas correlações com o interlocutor. Tal qual uma câmera cinematográfica, as ima- gens elaboradas, neste texto, captam um campo de visão específico, não um conti- nuum espacial, mas fragmentos que registram uma porção limitada da realidade, eleita pelo escritor, o que determina uma forma particular de recepção do texto, ou seja, a interpretação instaura-se entre o efeito, que é o momento condicionado pela obra, e a recepção, que é o momento estabelecido pelo destinatário, que é solicitado a participar ativamente da constituição do sentido do texto. A partir do fim do século XIX, o centro de gravidade do objeto figurativizado, pela literatura e pelo cinema, se deslocou, da realidade externa para o imaginário do es- pectador e do leitor, tornando-os, efetivamente, participantes da criação artística, e isto está presente na obra em exame. Será levado a efeito, também, o estudo da significância textual, que se refere à ins- tauração do sentido que a linguagem dissimula na escrita ficcional, que pressupõe uma instância de prazer e angústia, resultante da promessa significativa daquilo que a obra literária oculta sob sua sombra. Será, ainda, objeto de reflexão o estudo das imagens metafóricas, especialmente as correlações destas com os não-lugares, que são espaços que grupos humanos ocupam, sem se identificar e sem estabelecer laços de convivência com eles. Esses espaços, constituídos pelo mundo massifica- do, são característicos da época contemporânea, como shoppings centers, aeropor- tos, consultórios médicos, que constituem a sobremodernidade e estão muito pre- sentes na obra em exame, constituindo uma das marcas de seu modelo construtivo, o que lhe dá uma conotação especial de atualidade.

The aim of this dissertation is to study urban domesticity in Polish film and literature against the background of the political and social transformations that have taken place in recent decades. The study begins with the so-called belle époque of the Polish People’s Republic and the decade of Edward Gierek, continues through the political upheavals, the period of martial law, and the system transformation of 1989 and the two following decades, which have been marked by the introduction of democracy, global capitalism, consumerism etc. The primary sources consist of almost thirty literary and cinematic works from various genres covering a period of forty years – twenty before the system change, and twenty after. Their common denominator is their setting in the socialist housing projects (blokowisko).  The dissertation places itself in the field of geocriticism and literary/cinematic spatiality. The object of the study is the ̒social space’ (Henri Lefebvre) of the urban home, and the main analytical frames are spatial representations and narrative space, which are viewed as important in shaping both character and plot. The analysis also draws from cultural theory by Michel Foucault, Marc Augé, Mikhail Bakhtin, Mircea Eliade, and Loïc Wacquant. The dissertation detects a shift in the representations of the urban home that indicates that the home has become more private and secluded after 1989, also suggesting that a spatial and social marginalization of the socialist housing projects has occurred. These findings are interpreted as consistent with theories in human geography on changes in the perception and experience of space due to global paradigm shifts and changes in the production system.

O objetivo deste trabalho é o estudo da cinza leve do carvão mineral da região de Criciúma (SC) para a sua utilização como fonte de matéria-prima na fabricação de placas cerâmicas para revestimento. Na cinza foram realizadas as seguintes análises: química, mineralógica, granulométrica, de área superficial específica e dilatométrica. Partindo destes resultados, foram definidas formulações do material em estudo com matérias-primas tradicionais. As formulações foram otimizadas com o desígnio de atender quesitos técnicos que viabilizassem o seu processamento e a obtenção de propriedades tecnológicas dos produtos cerâmicos após queima. Com teores de cinza variando entre 20 e 80% em peso, as formulações foram conformadas por prensagem uniaxial simples, secadas e queimadas a 11500C. Todas as formulações contendo até 60% em peso de cinza apresentaram atributos suficientes para o seu processamento e atingiram propriedades tecnológicas para serem aplicadas na fabricação de placas cerâmicas para revestimento, atendendo a norma NBR 13818 (ABNT, 1997) nos diversos grupos de absorção (prensado). Os resultados obtidos indicam que a cinza de carvão mineral incorporada à matériasprimas tradicionais para a obtenção de massas cerâmicas apresenta grande potencial em uma utilização como matéria-prima de placas cerâmicas para revestimento.
The objective of this work is the study of the fly ash of the mineral coa/ from the region of Criciúma (SC) for its use as raw material source in the manufacture of ceramic files. Fly ash was analyzed by the following tests: chemical, mineralogical, grain size distribution, specific superficial area and dilatometric. In according with these results were defined batches containing the f/y ash and traditional raw materiais. The batches had been optimized with the design to suit technical queries feasibly their processing and obtaining technological properties of the ceramic products after it burned. With fly ash quantity varying between 20 and 80% in weight, the batches had been conformed by uniaxial pressing, drying and they were burned at 1150°C. AI/ the batches containing up to 60% in weight of fly ash had presented enough attributes for their processing and they had reached technological properties for use in the manufacture of ceramic files, in according of standard N8R 13818 (A8NT, 1997) from groups of absorption (pressed) 8/b, 811a, 81/b and 8111. The results indicate that the incorporated fly ash added on the batches have great potential for use as raw material on cera mie files.

Notre etude tente de decrire les mecanismes nuances qui determinent la propre incidence du medium sur la profondeur des images qu'il transmet. Son objet consiste a proceder a l'analyse topologique de deux courts extraits tires de feuilletons destines a la television. Si l'espace cinematographique se construit autour d'une essence homogeneifiante, leguee par les perspectives lineaire (ordonnance des lignes) et aerienne (ordonnance des lumieres) dans la visee principale de restituer le realisme d'un artifice de profondeur dans sa plus grande purete, l'espace televisuel vise quant a lui l'heterogeneite du symbole. L'espace televisuel contient l'espace cinematographique. En ce sens, il est plus grand que lui parce qu'il determine la dispersion des intervalles geometriques, le telescopage des distances de reference, l'ambivalence du proche et du lointain, la juxtaposition arbitraire ou projective de synecdoques ordonnees non plus suivant la repartition rigoureuse des luminances accordees par la coherence de l'eclairage mais suivant l'agrement de taches colorees abstraites. L'espace cinematographique possede une essence figuree principalement par la perspective, il est globalement illusionniste. L'espace televisuel possede une essence figuree principalement par l'eparpillement rythmique des symboles, il est globalement metaphorique.

Cette thèse aura pour but d'interroger deux notions majeures de l'oeuvre robbe-grillétienne : le '' Fantasme'' et la '' Représentation''. Il s'agira, principalement, de mettre en perspective les différents rapports qui se tissent entre elles et la manière dont elles édifient l'oeuvre du Nouveau Romancier. La façon dont Robbe-Grillet représente le fantasme sera au centre de cette recherche, mais nous aborderons également la notion de représentation à travers le motif du théâtre. En effet, les personnages des films et romans de Robbe-Grillet ne cessent de jouer des rôles stéréotypés (l'espion, la prostituée, le docteur sadique etc.) et il arrive fréquemment que les lieus présentés au début de la diégèse se muent en scènes de spectacle. Chez l'auteur de La Jalousie Le fantasme est fortement théâtralisé comme l'atteste également l'omniprésence de la thématique sadomasochiste. Espace de tous les possibles, l'oeuvre de Robbe-Grillet fantasme aussi sa propre gestation. Le Nouveau Romancier, à l' image du texte qu'il a engendré, est devenu, lui-aussi, un objet de représentation. Ouverte sur de multiples métamorphoses, cette oeuvre aussi ludique que complexe ne cherche pourtant pas à dévoiler l'ensemble de ses mécanismes. Elle laisse la possibilité au récepteur de créer les siens en acceptant ou non le pacte de lecture proposé par l'auteur. Le lecteur-spectateur, à la fois au centre et à l'extérieur de tout ce qu'il peut lire et voir, se retrouve au coeur d'une représentation qui est autant la sienne que celle de l'auteur.

Orientador: Antonio Ludovico Beraldo
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Agricola
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Resumo: A reciclagem pode ser considerada uma ferramenta adequada para minimizar o impacto humano causado ao meio ambiente, o que aponta para o aproveitamento de resíduos agrícolas na obtenção de materia is para construções rurais, como uma forma alternativa de seqüestro ou da não emissão de carbono. O aproveitamento racional dos resíduos ainda é um problema não solucionado e uma parte substancial dos resíduos é desperdiçada, ou contamina o meio ambiente. No entanto, agregados de origem vegetal podem ser empregados na fabricação de artefatos leves de cimento, na busca de materiais de comportamento diferenciado em termos de isolamento térmico e acústico e de resistência às cargas dinâmicas. Esse trabalho de pesquisa, baseado em estudos anteriores envolvendo o aproveitamento da casca de arroz (CASCA), objetivou a redução no consumo de cimento através da incorporação de maior quantidade de material, a casca de arroz queimada em condições especiais, resultante de processo industrial (CINZA). Os percentuais de adição de casca e de cinza, variaram em função do tipo de mistura (pasta ou compósito). Assim, as diferentes misturas cimento-cinzacasca obtidas foram agrupadas em FASES, de acordo com o tipo de mistura (Pasta ou Compósito), a quantidade de casca (7,5% nas Fases I e II; variável nas Fases III e IV) e a quantidade de cinza (0%, 5%, 20% e 35%, na fase I e de 0%, 20% e 35%, nas demais fases). Por ser um material biológico a casca de arroz apresentou comportamento físico-químicomecânico variável, com síntese apresentada ao final de cada fase, em função do grande volume de informação (interação entre os fatores CASCA e CINZA). São apresentadas avaliações do comportamento químico, físico e mecânico das misturas à base de cimento, com incorporação de casca de arroz e/ou cinza da casca de arroz. As avaliações evidenciaram através do comportamento químico das misturas, o efeito negativo dos extrativos da casca de arroz (lavada em solução de cal) sobre as reações químicas do cimento (curva de hidratação), bem como sua redução pela adição de cinza, independentemente da distribuição em tamanho das partículas de casca. Atribuiu-se ao alto teor de carbono (98%) da cinza, a melhoria no comportamento químico das misturas. As reduções observadas em alguns parâmetros químicos, com a adição de cinza, está associada ao aumento de massa no sistema. A avaliação do comportamento físico-mecânico das misturas evidenciou que a adição de casca promoveu um aumento na resistência em tração por compressão diametral e redução na resistência em compressão simples. A adição de cinza promoveu aumento nestas resistências. A avaliação das placas prensadas evidenciou a ausência de diferença significativa entre as misturas, fato este também constatado na fase III, de modo que a adição de cinza não afetou de forma significativa a resistência mecânica, o que sugere a mistura 10 mm-35% como sendo a mais adequada para a produção de compósitos cimento-cinza-casca, com redução no consumo de cimento em cerca de 25%. Destaca-se que a mistura 10 mm-35% apresentou a maior capacidade de confinamento (ou de não emissão) de carbono. Sua capacidade de confinar foi estimada em cerca de 1,9 toneladas de CO2 por tonelada de cimento consumido no processo de fabricação do compósito, o que seria liberado para a atmosfera, quando da queima da casca de arroz no uso ou descarte inadequados. Palavras-chaves: calorimetria; casca de arroz; cimento; cinza; compósito
Abstract: The recycling is an effective tool to minimize environmental impact that is caused by human civilization. The utilization agricultural residual for rural construction is an efficient way for retain or reduce carbon emission to the atmosphere. However, the present-day techno logy is not enough to be a satisfactory level. A part of the residue is not consumed, and the rejected substances are causing environmental pollution. However, the vegetable aggregates can be employed to lightweight cement artifacts production, which is applied to thermal and acoustic isolators. This work look for a method for light artifacts production with minor cement consumption and larger rice husk (HUSK) consumption, with the help of the rice husk burned by a special industrial process (ASH). The ash and rice husk addition percentages had varied in function of the type of mixture (paste or composite). The different gotten mixtures cement-ash-rice husk been grouped in PHASES, in accordance with the type of mixture (Paste or Composite), the amount of rice husk (7.5% in Phases I and II; variable in Phases III and IV) and the amount of ash (0%, 5%, 20% and 35%, in phase I and of 0%, 20% and 35%, in the too much phases). For a biological material, the rice husk presented behavior changeable physic-chemistry-mechanic. A analyze synthesis is presented on the end each phase; this is necessary of the great volume of the information (interaction between the factors HUSK and ASH). Evaluations of the chemical, physical and mechanical behavior of cementash- rice husk mixtures are presented. The evaluations had evidenced through the chemical behavior of the mixtures, the negative effect of the extractives of the rice husk (Washed in Lime Solution) on the chemical reactions of the cement - hydration curve (temperature against time), the its reduction with the ash addition, independently of the particles size range. The high carbon content (98%) of the ash attributed the improvement to the chemical behavior of the mixtures. The reductions observed in some chemical parameters, with the ash addition, are associated with the increase of mass in the system. The behavior physical-mechanical evaluation of the mixtures evidenced that the rice husk addition increase the resistance in Brazilian test, with reduction in the resistance in simple compression. The ash addition promoted increase in this resistance. The evaluation of the board manufacturing evidenced an absence of significant difference between the mixtures, fact also evidenced in phase III. The ash addition not is significant affect in the mechanical resistance properties. The mixture 10 mm-35% proposed from at the production of composite, have reduction in the cement consumption in about 25%. In detach for 10 mm-35% mixture, presented the higher capacity of retain or reduce carbon dioxide emission. The capacity of to confine was estimated to in about 1.9 tons of CO2 for each ton of cement consumed in the process of manufacture of the composite, what would be emitted for the atmosphere, when of the burning of the rice husk, on the use or in the inadequate deposit. Keyywords: ash; calorimetric, cement; composite; rice husk
Doutorado
Construções Rurais e Ambiencia
Doutor em Engenharia Agrícola

A sustentabilidade das regiões de produção intensiva de suínos depende de destinos alternativos para os resíduos nelas gerados. A calcinação da cama sobreposta gera sílica vítrea que pode ser utilizada na substituição parcial de aglomerantes comerciais. A utilização de cinzas de casca de arroz como material pozolânico para a confecção de argamassas e concretos tem merecido atenção considerável, nos últimos anos, não apenas por melhorar as propriedades mecânicas de materiais cimentícios, mas, sobretudo pelos benefícios ambientais gerados, com a redução do consumo de clínquer. A falta de sustentabilidade ambiental pode limitar o crescimento econômico da suinocultura, dada a tendência do setor de crescimento concentrado em grandes empreendimentos, e, por conseqüência, do aumento da poluição provocada pelos dejetos. Com a busca de alternativas que solucionem ou minimizem tal problema, o objetivo geral deste trabalho foi o aproveitamento de resíduos agropecuários (cama sobreposta de suínos e fibra curta de sisal) para a fabricação de placas à base de compósitos cimentícios para escamoteadores com diferentes tipos de aquecimento (lâmpada incandescente e resistência elétrica). As cinzas de cama sobreposta de suínos substituíram 30% do cimento Portland. A matriz cimentícia resultante foi reforçada com fibra curta de sisal. Os resultados obtidos com a utilização da cinza da cama sobreposta de suínos valida seu uso como material de substituição parcial do cimento Portland. A temperatura ideal de calcinação é de 600 ºC, com rampa de 5 ºC/min durante 3 h. O material selecionado foi o passante na peneira ABNT No 200 (# 0,074 mm). A cinza da cama sobreposta de suínos aumentou a condutividade térmica e a fibra de sisal incorporou o ar na placa e, assim, reduziu a conducao do calor para a parte inferior. O melhor tratamento foi a utilização da placa em duas camadas com cinza de cama sobreposta e fibra de sisal, associada ao uso da lâmpada de 200 W.
The sustainability of intensive areas of swine production depends on alternative destinations for the generated residues. The calcination of swine deep bedding generates vitreous silica for partial replacement of commercial binders. The use of rice husk ashes as pozzolanic material for mortars and concretes has deserved considerable attention in the last years, not just for improving their mechanical properties, but also for the environmental benefits linked to the reduction of clinker consumption. The lack of environmental sustainability can limit the economical growth of swine production, due to the tendency for concentration in sites with intensive activity, and, as a consequence, the increase of the contamination by wastes. Aiming alternatives that can minimize or decrease such problem, the objective of this work is to test the use of agricultural waste (swine deep bedding ashes and sisal fiber) for the manufacture of piggy`s house plates with different types of heating (filament lamps and electric resistance) on based cement composite materials. The swine deep bedding ashes replaced 30% of Portland cement. The resulting cementations matrix was reinforced with sisal fiber. The results obtained with the use of swine deep bedding ashes validates the use of this material for partial replacement of Portland cement. The optimal calcination temperature is 600 °C with rate of 5 ºC/min for over 3 hours. The material selected should be as pass in ABNT sieve No 200 (# 0.074 mm). The swine deep bedding ashes increased the thermal conductivity and sisal fiber entrapped air in the plate and due to the pores incorporated there was a reduction in the heat conduction to the bottom. The best treatment was the plate with two layers of swine deep bedding ashes and sisal fiber, associated with 200 W lamp.

Hauntology Man, a 48-minute documentary, follows former UNT Professor, Dr. Shaun Treat, as he leads a walking ghost tour of downtown Denton, Texas. As the expedition moves from storefront to storefront, each stop elicits a new tale. But, as Dr. Treat points out, the uncertainties of history are the real ghosts. That is, rather than simply presenting a "haunted history" of Denton, it's more accurate to say this movie's center resides at the precipice of a "haunting history." Not all ghost stories need spectres. Sometimes not knowing is ghost enough.

A pioneering figure in film studies, Christian Metz proposed countless new concepts for reflecting on cinema, rooted in his phenomenological structuralism. He also played a key role in establishing film studies as a scholarly discipline, making major contributions to its institutionalisation in universities worldwide. This book brings together a stellar roster of contributors to present a close analysis of Metz's writings, their theoretical and epistemological positions, and their ongoing influence today.

This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East, West, and post-unification Germany together, Baer argues that contemporary German cinema is characterized most strongly by its origins in and responses to advanced capitalism. Informed by a feminist approach and in dialogue with prominent theories of contemporary film, the book places a special focus on how German films make visible the neoliberal recasting of gender and national identities around the new millennium.

At the end of the nineteenth century, the Balkans were animated by cultural movements and socio-political turmoil with the onset of the collapse of the empires. Around the same period, the proliferation of print media and the arrival of moving images gradually transformed urban life, and played an important role in the creation of national and regional cultures. Based on archival research that explores previously overlooked footage and early press materials, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. This book investigates how the unique geopolitical positioning of the Balkan space and the multicultural identity of its communities influenced and shaped visual culture and the development of early cinema until World War I. It highlights how early moving images and foreign film productions contributed to the construction of Balkanist and semi-colonial discourses. Building on approaches such as ‘new cinema history’, ‘vernacular modernity’ and ‘polycentric multiculturalism’ to counter Eurocentric modernity paradigms and to reframe hierarchical relations between centres and peripheries, this monograph adopts an alternative methodology for interstitial spaces. Using the notion of the haptic, it examines the relationship between the new medium and regional visual culture. By doing so, it establishes new connections between moving image artefacts and print media, early film practitioners and intellectuals, the socio-cultural context and cultural responses to the new visual medium in the Balkan region.

This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.

Mark Cosgrove’s professional life in independent cinemas – first at Plymouth Arts Centre then Cornerhouse in Manchester and now Watershed in Bristol – has brought him close to audiences’ responses to films, and also to their experiences before, during, and after the cinema screening of a film. He believes there is no one way to receive a film: each individual brings their own life journey to a screening. However, the collective experience of the venue – the place of cinema – creates a unique context where a film and the various lived experiences of the audience can connect in powerful and meaningful ways. That resonance between film, venue, and audience evolved further for him when taking Carl Dreyer’s The Passion of Joan of Arc (La passion de Jeanne d’Arc, 1928) on tour with a newly commissioned score. Each place – venue or festival context – brought fresh meanings to the extraordinary images filmed nearly 90 years earlier.

La cinécriture d’Agnès Varda a transgressé bien des barrières et ouvert de nouveaux chemins dans le septième art. Les plages (2008) – qui suppose son « adieu » définitif à la « caméra voyageuse » – constitue bien un exemple de récit d’art et d’essai, complexe, créé comme une espèce de collage, à effet de kaleidoscope, où la réalisatrice offre un jeu narratif filmique prolixe qui séduit et attrape le lecteur spectateur complice. Ce film s’avère d’un intérêt spécial car si, effectivement, il fait le bilan de toute une vie dédiée au cinéma et aux arts, s’il constitue en toute évidence une célébration du septième art et un hommage à de nombreux amis cinéastes, il illustre jusqu’à quel point le cinéma ne peut être conçu sans les interinfluences entre les arts. Ainsi, au premier abord Les plages constitue le voyage rétrospectif d’une vie, une rêverie « autobiographique » d’une cinéaste constamment au devant d’une avant-garde. Pourtant ce film est beaucoup plus. Le lecteur spectateur se laisse surtout emporter par une aventure textuelle qui n’entend pas de frontières entre les arts. Si, effectivement, notre communication s’aprête à aborder le caractère réflexif du film de Varda, elle vise également à analyser la dimension symbolique de cette « mer » en évaluant les enjeux des « vagues » textuelles qui entrelacent le récit, et dont l’une d’entre elles n’est pas fortuite : celle du Cimetière marin de Paul Valéry. DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3069

During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state. In addition to the old buildings readapted for cultural activities, new buildings are designed based on a rigorous transposition of functional requirements. Representative for this time period are the cinemas designed to meet the requirements of a growing audience and to be expressive architectural pieces in the new micro-districts. The large number of houses of culture built in the district centers on the basis of standard projects is significant. At the same time, unique architectural programs appear functionally reflecting the social superstructure.

In the 1950s, more than 20 Soviet film experts came to China to assist in the formulation of the "First Five-Year Plan" and the top-level design of the new Chinese film construction, assisted film studios and machinery manufacturing plants to improve their technology, assisted in the preparation of the Beijing Film Academy and participated in teaching, and laid the foundation for the initial formation of the new Chinese film system, technology and education. On this basis, the new Chinese filmmakers successfully inter-nalized the "Soviet experience", which led to a new situation in the construction of new Chinese cinema and promoted the popularization of "people's cinema".

Nature is the basic condition for human survival and development. The nature-deficit disorder is a phenomenon put forward by American writer Richard Louv, that is, the complete separation of modern urban children from nature in the 21st century. Some experts explain that this desire and ignorance of nature is due to a lack of time to go outdoors, especially in the countryside. In real life, the population of "nature-deficit disorder" has expanded from children to adults. In order to let young people go into nature and understand the thousands of plants in nature, our team wants to design an application to popularize plants through a game-based live experience, so that users can learn more plant knowledge in fun. This design adopts the methods of the questionnaire survey, user interview, and literature retrieval to deeply discover the contemporary young people's understanding of plants, the development status of game-based science popularization apps at home and abroad, and the expected functions of users, to determine the information construction, visual image and interactive experience of the APP. Our team uses Rhino, Cinema 4D, Blender, Unity, Unreal and other software, combined with ergonomics to achieve scene modeling and rendering, to create a more realistic AR experience. The APP can guide users to enter the virtual map, take photos and punch cards through AR switching angles, and randomly obtain passes to unlock other maps. At the same time, users can click to view specific plant data, unlock the plant by completing key tasks such as roots, stems, and leaves, and bring it into the backpack for creation; the app can also game the handicraft which uses plants as raw materials, and guide users to create their own unique imprint. After the usability test, the respondents all believed that this APP could produce a better effect of plant science popularization in the game experience.

The problem of recycling secondary raw materials remains unresolved, despite many years of work on this issue. Among the many obstacles that arise is also the difficulty of sorting individual waste fractions. To facilitate this task and help solve this problem, modern computer vision and artificial intelligence techniques can be used. In our work, we propose constructing an intelligent garbage bin containing a camera and a microcomputer along with software that uses these techniques to sort waste. The role of the software is to recognize the type of waste and assign it to one of five main categories: paper, plastic, metal, glass and cardboard. The proposed method uses image recognition techniques with a convolutional neural network. The results confirm that using artificial intelligence methods significantly helps in sorting waste. The proposed solution can be used in homes and public places such as parks, cinemas or playgrounds.

We believe that income divide among countries due to globalization, growing poorness and increasing unemployment aroused a necessity for social values to create on economical base. In this context arising economical and social issues bring some new responsibilities upon international institutions, governments, NGO’s, and firms. Social entrepreneurship concept is among these responsibilities. This concept is particularly important for firms that are placed in intersection of private and third sector and other institutions adopting market-based methods. Social entrepreneurism that focusing on social missions affect all the decisions how to capture and evaluate opportunities in all the dimensions of life. Social entrepreneurs who are motivated by social bearings rather than solely making profits are present in social and cultural aspects of life in addition to presence in the market. In this study social entrepreneurism producing more economic and social value than its traditional counterpart is about to be examined in Turkish context with two awarded cases. First is SineMASAL (Cine-Tale) social entrepreneurship that aims to embrace all the rural kids with artistic fields including the cinema. This entrepreneurship particularly aims to provide country kids who have limited access to social and economical life with some opportunities that would help them to have a better future, at least to support them having a positive attitude towards potentialities. Another one is the e-Hastam (My e-Patient) entrepreneurship that matches physicians and patients on virtual platform where everybody could benefit from actual health information and activities.

The new coronavirus (Covid-19) is one of the main challenges world today has to address. With no large scale availability vaccine yet, and more or less experimental medical treatments for curing the disease, we can safely say that we are still far behind a solution to this problem. This new pandemic is considered the biggest threat to the global economy since the Second World War and there is no aspects of human life have not been affected it, spiritual ones included. Its high contagiousness, as well as novelty, raised all kind of challenges and one of the main ones was our manner to produce answers, in early stages at least, this creating problem on its own and of its design. As well as all the other institutions, theatres, cinemas, concert halls, spaces of socialization and in the same time places of wonder, knowledge and spiritual enrichment the museums were heavily affected by the pandemic crisis, especially those who’s collections are not, but in very small proportion available, to the public through virtual media. Such a case is „Princely Court„ National Museums Ensemble from Targoviste, Dambovita County, Romania. The present paper proposes an overview of the highlights in institution′s activity the past years in comparison with how the pandemic crisis affected its activity in the past months and what were the responses given to keep the museum in the eye of the public. It will also try to summarize how and to what extent the activity went back to „normal” after the emergency state earlier imposed was lifted and how the visitors responded to the new realities.

Portland cement slurries formulated with cements commonly used in civil construction don’t fully meet the normative requirements of the API (American Petroleum Institute), especially about the mechanical properties, due to the composition characteristics and properties required for oil wells cementing. Due to these characteristics, in Brazil, specific Portland cements are used for oil wells, such as CPP Class G and CPP Especial Class. The research sought to evaluate a reliable alternative of cement slurries formulated with CPII F cement, with great availability in the market, with partial substitution of the cement by coal burning ashes to 5% and 10%, chosed for modifying the microstructure and the resistance of the slurries. The ash comes from the Pecém-CE thermoelectric plants, which represents an environmental liability due to the provision in patios of accumulation of this industrial waste. Initially, the chemical and microstructural cement and the ashes were characterized as the pozzolanic activity. Subsequently, the technological tests required by NBR 9831/2006 and API ASPEC / 2010 were carried out for the cementation of oil wells. It is concluded that the formulated slurries presented the possibility of cementing applications of shallow wells.

Sriharjo Village is one of the villages in the Yogyakarta Special Region with the highest poverty rate. Most of Sriharjo Village's residents work in the agricultural sector, fish farming, animal husbandry, and SMEs. Optimizing rural community participation through Sriharjo Village Development Strategy Plan 2019-2025, focusing on financial independence, is estimated to reduce poverty. The Faculty of Agriculture Technology Universitas Gadjah Mada’s team introduced cadet farmers called Taruna Tani Hijaunya Cinta to the SITTI Concept, which is a system that integrates plants, livestock, and fish through the BCG economy approach. SITTI aims to maximize Sriharjo Village's poverty-reduction potential while adhering to sustainability—its downstream technology affected various economic, social, and environmental improvements the previous year. This study examined the potential and strategies for developing product diversification of SITTI. Surveys and questionnaires were used to conduct qualitative research with 30% of cadet farmer members in the village. Data were analyzed using an evaluation matrix of internal and external factors to create a SWOT analysis for the implementation strategy, and Rank Order Centroid (ROC) was used for sensitivity testing on each factor. The Strength, Weakness, Opportunities, and Threats scores are 4.6, 4,0; 3,9; and 2,7; with a consistency ratio of <0,1. According to the evaluation matrix, cadet farmer members could capitalize on their strengths and opportunities while addressing their weaknesses and threats through the SITTI technology development. Strength-Opportunities (SO) strategy to develop and diversify SITTI technology by institutional strengthening, increasing upstream-downstream productivity through henhouse and maggot box expansion, developing product diversification, and product marketing yielded Quadrant 1 results.

VRestaurant is an installation of electronic art, design, gastronomy and multi-sensoriality. Its objective is to explore the potential of virtual reality (VR) to discuss issues related to healthy eating and sustainability. In it, we articulate academic research, linked to the Electronic Art Laboratory at PUC-Rio, with design project development practices, to achieve, through experimentation, an innovative result that contributes to changing people's behavior towards the future of food on the planet. For this, we searched for conceptions of experiences in VR, as well as “teaching-learning” methodologies (ALVES, 2008) in Design. In the methodology we use theoretical, field research, brainstorming and development. We work in a cyclical format, where each step is evaluated and validated. In the conceptual field, we ask: In 2050 will we be able to feed 10 billion people in a healthy and sustainable way to the planet? Humans produce food on a scale that has affected the climate and diverse ecosystems. The conversion of forests to pastures harms the migration of birds and alters the rain and planting periods. The foods produced are often of low nutritional value, which leads to unhealthy diets, causing malnutrition and obesity. Therefore, through awareness, engagement and emotion, we provide participants with a reflection that will stimulate changes in individual behavior, which can generate broader social changes. In the field of Design, we chose VR and its immersiveness, interactivity, multi-sensoriality and sense of presence, to provoke in the user a concrete experience. These areas are capable of producing emotional reactions in human beings. The feeling of experiencing an unfamiliar environment can be a pleasant experience for some and a difficult one for others. However, these sensations added to VR are invariably strong and impactful (SPITZ, 2021). With the restrictions imposed by Sars-Cov-2, the activities were directed to our homes, bringing a reality mediated by screens, which can be exhausting. Immersive technologies make these activities and contact with other people more enjoyable. Interactive possibilities also provide greater collaboration in task development. These potential allies to remote communication were the guiding points of VRestaurant. The development team is multidisciplinary, made up of professors, graduate students, undergraduates, professionals in design, gastronomy, arts, law, architecture, software engineering and cinema. By ensuring that each area is dealt with by those who have expertise, or who show interest in going deeper, even without experience. In our processes, we adapt the universe of VR headsets, through schematic representations, storyboards, videos, animations and text documents, always shared for everyone's analysis and consideration. The result of the process observed in the team is partial, but we conclude that in this multiplicity of profiles, origins and ages, there is a rich exchange of knowledge where subject “A” learns and teaches simultaneously with subject “B”. This approach, which prioritizes horizontal relationships (FREIRE, 1987), generated a vast theoretical, experimental and practical repository, in addition to an environment for creative development. Our academic and technical contribution demonstrates that working on the creation of VRestaurant also represented emotional support for the team in times of pandemic.

1.1 Macroeconomic summary Economic recovery has consistently outperformed the technical staff’s expectations following a steep decline in activity in the second quarter of 2020. At the same time, total and core inflation rates have fallen and remain at low levels, suggesting that a significant element of the reactivation of Colombia’s economy has been related to recovery in potential GDP. This would support the technical staff’s diagnosis of weak aggregate demand and ample excess capacity. The most recently available data on 2020 growth suggests a contraction in economic activity of 6.8%, lower than estimates from January’s Monetary Policy Report (-7.2%). High-frequency indicators suggest that economic performance was significantly more dynamic than expected in January, despite mobility restrictions and quarantine measures. This has also come amid declines in total and core inflation, the latter of which was below January projections if controlling for certain relative price changes. This suggests that the unexpected strength of recent growth contains elements of demand, and that excess capacity, while significant, could be lower than previously estimated. Nevertheless, uncertainty over the measurement of excess capacity continues to be unusually high and marked both by variations in the way different economic sectors and spending components have been affected by the pandemic, and by uneven price behavior. The size of excess capacity, and in particular the evolution of the pandemic in forthcoming quarters, constitute substantial risks to the macroeconomic forecast presented in this report. Despite the unexpected strength of the recovery, the technical staff continues to project ample excess capacity that is expected to remain on the forecast horizon, alongside core inflation that will likely remain below the target. Domestic demand remains below 2019 levels amid unusually significant uncertainty over the size of excess capacity in the economy. High national unemployment (14.6% for February 2021) reflects a loose labor market, while observed total and core inflation continue to be below 2%. Inflationary pressures from the exchange rate are expected to continue to be low, with relatively little pass-through on inflation. This would be compatible with a negative output gap. Excess productive capacity and the expectation of core inflation below the 3% target on the forecast horizon provide a basis for an expansive monetary policy posture. The technical staff’s assessment of certain shocks and their expected effects on the economy, as well as the presence of several sources of uncertainty and related assumptions about their potential macroeconomic impacts, remain a feature of this report. The coronavirus pandemic, in particular, continues to affect the public health environment, and the reopening of Colombia’s economy remains incomplete. The technical staff’s assessment is that the COVID-19 shock has affected both aggregate demand and supply, but that the impact on demand has been deeper and more persistent. Given this persistence, the central forecast accounts for a gradual tightening of the output gap in the absence of new waves of contagion, and as vaccination campaigns progress. The central forecast continues to include an expected increase of total and core inflation rates in the second quarter of 2021, alongside the lapse of the temporary price relief measures put in place in 2020. Additional COVID-19 outbreaks (of uncertain duration and intensity) represent a significant risk factor that could affect these projections. Additionally, the forecast continues to include an upward trend in sovereign risk premiums, reflected by higher levels of public debt that in the wake of the pandemic are likely to persist on the forecast horizon, even in the context of a fiscal adjustment. At the same time, the projection accounts for the shortterm effects on private domestic demand from a fiscal adjustment along the lines of the one currently being proposed by the national government. This would be compatible with a gradual recovery of private domestic demand in 2022. The size and characteristics of the fiscal adjustment that is ultimately implemented, as well as the corresponding market response, represent another source of forecast uncertainty. Newly available information offers evidence of the potential for significant changes to the macroeconomic scenario, though without altering the general diagnosis described above. The most recent data on inflation, growth, fiscal policy, and international financial conditions suggests a more dynamic economy than previously expected. However, a third wave of the pandemic has delayed the re-opening of Colombia’s economy and brought with it a deceleration in economic activity. Detailed descriptions of these considerations and subsequent changes to the macroeconomic forecast are presented below. The expected annual decline in GDP (-0.3%) in the first quarter of 2021 appears to have been less pronounced than projected in January (-4.8%). Partial closures in January to address a second wave of COVID-19 appear to have had a less significant negative impact on the economy than previously estimated. This is reflected in figures related to mobility, energy demand, industry and retail sales, foreign trade, commercial transactions from selected banks, and the national statistics agency’s (DANE) economic tracking indicator (ISE). Output is now expected to have declined annually in the first quarter by 0.3%. Private consumption likely continued to recover, registering levels somewhat above those from the previous year, while public consumption likely increased significantly. While a recovery in investment in both housing and in other buildings and structures is expected, overall investment levels in this case likely continued to be low, and gross fixed capital formation is expected to continue to show significant annual declines. Imports likely recovered to again outpace exports, though both are expected to register significant annual declines. Economic activity that outpaced projections, an increase in oil prices and other export products, and an expected increase in public spending this year account for the upward revision to the 2021 growth forecast (from 4.6% with a range between 2% and 6% in January, to 6.0% with a range between 3% and 7% in April). As a result, the output gap is expected to be smaller and to tighten more rapidly than projected in the previous report, though it is still expected to remain in negative territory on the forecast horizon. Wide forecast intervals reflect the fact that the future evolution of the COVID-19 pandemic remains a significant source of uncertainty on these projections. The delay in the recovery of economic activity as a result of the resurgence of COVID-19 in the first quarter appears to have been less significant than projected in the January report. The central forecast scenario expects this improved performance to continue in 2021 alongside increased consumer and business confidence. Low real interest rates and an active credit supply would also support this dynamic, and the overall conditions would be expected to spur a recovery in consumption and investment. Increased growth in public spending and public works based on the national government’s spending plan (Plan Financiero del Gobierno) are other factors to consider. Additionally, an expected recovery in global demand and higher projected prices for oil and coffee would further contribute to improved external revenues and would favor investment, in particular in the oil sector. Given the above, the technical staff’s 2021 growth forecast has been revised upward from 4.6% in January (range from 2% to 6%) to 6.0% in April (range from 3% to 7%). These projections account for the potential for the third wave of COVID-19 to have a larger and more persistent effect on the economy than the previous wave, while also supposing that there will not be any additional significant waves of the pandemic and that mobility restrictions will be relaxed as a result. Economic growth in 2022 is expected to be 3%, with a range between 1% and 5%. This figure would be lower than projected in the January report (3.6% with a range between 2% and 6%), due to a higher base of comparison given the upward revision to expected GDP in 2021. This forecast also takes into account the likely effects on private demand of a fiscal adjustment of the size currently being proposed by the national government, and which would come into effect in 2022. Excess in productive capacity is now expected to be lower than estimated in January but continues to be significant and affected by high levels of uncertainty, as reflected in the wide forecast intervals. The possibility of new waves of the virus (of uncertain intensity and duration) represents a significant downward risk to projected GDP growth, and is signaled by the lower limits of the ranges provided in this report. Inflation (1.51%) and inflation excluding food and regulated items (0.94%) declined in March compared to December, continuing below the 3% target. The decline in inflation in this period was below projections, explained in large part by unanticipated increases in the costs of certain foods (3.92%) and regulated items (1.52%). An increase in international food and shipping prices, increased foreign demand for beef, and specific upward pressures on perishable food supplies appear to explain a lower-than-expected deceleration in the consumer price index (CPI) for foods. An unexpected increase in regulated items prices came amid unanticipated increases in international fuel prices, on some utilities rates, and for regulated education prices. The decline in annual inflation excluding food and regulated items between December and March was in line with projections from January, though this included downward pressure from a significant reduction in telecommunications rates due to the imminent entry of a new operator. When controlling for the effects of this relative price change, inflation excluding food and regulated items exceeds levels forecast in the previous report. Within this indicator of core inflation, the CPI for goods (1.05%) accelerated due to a reversion of the effects of the VAT-free day in November, which was largely accounted for in February, and possibly by the transmission of a recent depreciation of the peso on domestic prices for certain items (electric and household appliances). For their part, services prices decelerated and showed the lowest rate of annual growth (0.89%) among the large consumer baskets in the CPI. Within the services basket, the annual change in rental prices continued to decline, while those services that continue to experience the most significant restrictions on returning to normal operations (tourism, cinemas, nightlife, etc.) continued to register significant price declines. As previously mentioned, telephone rates also fell significantly due to increased competition in the market. Total inflation is expected to continue to be affected by ample excesses in productive capacity for the remainder of 2021 and 2022, though less so than projected in January. As a result, convergence to the inflation target is now expected to be somewhat faster than estimated in the previous report, assuming the absence of significant additional outbreaks of COVID-19. The technical staff’s year-end inflation projections for 2021 and 2022 have increased, suggesting figures around 3% due largely to variation in food and regulated items prices. The projection for inflation excluding food and regulated items also increased, but remains below 3%. Price relief measures on indirect taxes implemented in 2020 are expected to lapse in the second quarter of 2021, generating a one-off effect on prices and temporarily affecting inflation excluding food and regulated items. However, indexation to low levels of past inflation, weak demand, and ample excess productive capacity are expected to keep core inflation below the target, near 2.3% at the end of 2021 (previously 2.1%). The reversion in 2021 of the effects of some price relief measures on utility rates from 2020 should lead to an increase in the CPI for regulated items in the second half of this year. Annual price changes are now expected to be higher than estimated in the January report due to an increased expected path for fuel prices and unanticipated increases in regulated education prices. The projection for the CPI for foods has increased compared to the previous report, taking into account certain factors that were not anticipated in January (a less favorable agricultural cycle, increased pressure from international prices, and transport costs). Given the above, year-end annual inflation for 2021 and 2022 is now expected to be 3% and 2.8%, respectively, which would be above projections from January (2.3% and 2,7%). For its part, expected inflation based on analyst surveys suggests year-end inflation in 2021 and 2022 of 2.8% and 3.1%, respectively. There remains significant uncertainty surrounding the inflation forecasts included in this report due to several factors: 1) the evolution of the pandemic; 2) the difficulty in evaluating the size and persistence of excess productive capacity; 3) the timing and manner in which price relief measures will lapse; and 4) the future behavior of food prices. Projected 2021 growth in foreign demand (4.4% to 5.2%) and the supposed average oil price (USD 53 to USD 61 per Brent benchmark barrel) were both revised upward. An increase in long-term international interest rates has been reflected in a depreciation of the peso and could result in relatively tighter external financial conditions for emerging market economies, including Colombia. Average growth among Colombia’s trade partners was greater than expected in the fourth quarter of 2020. This, together with a sizable fiscal stimulus approved in the United States and the onset of a massive global vaccination campaign, largely explains the projected increase in foreign demand growth in 2021. The resilience of the goods market in the face of global crisis and an expected normalization in international trade are additional factors. These considerations and the expected continuation of a gradual reduction of mobility restrictions abroad suggest that Colombia’s trade partners could grow on average by 5.2% in 2021 and around 3.4% in 2022. The improved prospects for global economic growth have led to an increase in current and expected oil prices. Production interruptions due to a heavy winter, reduced inventories, and increased supply restrictions instituted by producing countries have also contributed to the increase. Meanwhile, market forecasts and recent Federal Reserve pronouncements suggest that the benchmark interest rate in the U.S. will remain stable for the next two years. Nevertheless, a significant increase in public spending in the country has fostered expectations for greater growth and inflation, as well as increased uncertainty over the moment in which a normalization of monetary policy might begin. This has been reflected in an increase in long-term interest rates. In this context, emerging market economies in the region, including Colombia, have registered increases in sovereign risk premiums and long-term domestic interest rates, and a depreciation of local currencies against the dollar. Recent outbreaks of COVID-19 in several of these economies; limits on vaccine supply and the slow pace of immunization campaigns in some countries; a significant increase in public debt; and tensions between the United States and China, among other factors, all add to a high level of uncertainty surrounding interest rate spreads, external financing conditions, and the future performance of risk premiums. The impact that this environment could have on the exchange rate and on domestic financing conditions represent risks to the macroeconomic and monetary policy forecasts. Domestic financial conditions continue to favor recovery in economic activity. The transmission of reductions to the policy interest rate on credit rates has been significant. The banking portfolio continues to recover amid circumstances that have affected both the supply and demand for loans, and in which some credit risks have materialized. Preferential and ordinary commercial interest rates have fallen to a similar degree as the benchmark interest rate. As is generally the case, this transmission has come at a slower pace for consumer credit rates, and has been further delayed in the case of mortgage rates. Commercial credit levels stabilized above pre-pandemic levels in March, following an increase resulting from significant liquidity requirements for businesses in the second quarter of 2020. The consumer credit portfolio continued to recover and has now surpassed February 2020 levels, though overall growth in the portfolio remains low. At the same time, portfolio projections and default indicators have increased, and credit establishment earnings have come down. Despite this, credit disbursements continue to recover and solvency indicators remain well above regulatory minimums. 1.2 Monetary policy decision In its meetings in March and April the BDBR left the benchmark interest rate unchanged at 1.75%.