Banca de DEFESA: JEFFERSON BRUNO DE SOUSA CABRAL

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
DISCENTE : JEFFERSON BRUNO DE SOUSA CABRAL
DATA : 29/10/2019
HORA: 09:30
LOCAL: Auditorio
TÍTULO:

The experience of essay film in Sinphony and Cacophony and Cinemacity

PALAVRAS-CHAVES:

Appropriation, Archive, Essay film, Resignification, São Paulo.

PÁGINAS: 100
GRANDE ÁREA: Ciências Sociais Aplicadas
ÁREA: Comunicação
SUBÁREA: Teoria da Comunicação
RESUMO:

Our contemporary society is increasingly manifested through audiovisual products of diffuse and polyphonic characteristics, capitated and circulated by an unimaginable amount of cameras and screens. At the same time, we routinely assign an appropriate functionality to these images and sounds, especially when we distance their origin from their destination, in other words, whenever we withdraw the audiovisual types from their particular context and we resignified them with a new meaning (BERNARDET, 1999a, 1999b, 2000, 2004). This new meaning can be derived from an essay expression of the subject who, starting from a subjective manifestation embedded in the public experience, decides to think and act with the images and sounds (CORRIGAN, 2015).In cinema, this movement of audiovisual appropriation, towards the resignification, finds prosperous ground in the production of archive films and essay films (TEIXEIRA, 2015). This understanding is present in the collective production of the films São Paulo: Symphony and Cacophony (1994), by Jean-Claude Bernardet, and São Paulo: Cinemacity (1994), by Aloysio Raulino, Marta Grostein and Regina Meyer, archive films that use pieces of other films to build their historical and poetic narratives about the city of São Paulo. Based on the film analysis, documentary research and bibliographic discussion, this work identified the processes of resignification of the archival images of the Brazilian audiovisual that served as primary material for the production of these essay films, which translate as essay expressions of the authors to compose a representational cinematographic landscape of the city of São Paulo. In this way, the montage is presented as a central strategy for the production of audiovisual discourses that mediate the point of views of the artists, the archive images and the freedom of the spectator to prolong the power of resignification of the film with others images and sounds of the world. The work also recognizes that the inscriptions of subjectivities present in São Paulo: Symphony and Cacophony (1994) and São Paulo: Cinemacity (1994) contribute to the current entry of these films in the archaeology of the essay film in Brazil.

MEMBROS DA BANCA:
Presidente - 1345775 - MARIA HELENA BRAGA E VAZ DA COSTA
Interna - 1640014 - MARIA ANGELA PAVAN
Interna - 1694773 - VALQUIRIA APARECIDA PASSOS KNEIPP
Externa à Instituição - NINA VELASCO E CRUZ - UFPE