The main objective of this research is to trace a line of reasoning since the time of the first machines to reproduce the illusion of movement, through the film until the 1960s where did my object of study: the French short film, fiction, La Jetée. From then on it was a brief technical analysis on the a esthetic film that Chris Marker (the author of the film) used in his narrative. Not leaving out a list of photofilmes produced in Brazil for a better contextualization of this type of animation pictures today. Finally, we elaborate on the practice, a movie production, using the same format as that quoted above short film: photographs. This visual narrative, the genre of fiction, has a structure in its cinematic language.

Population aging is considered a world-wide phenomenon. Several changes are caused by aging, among them, the higher prevalence of mood disorders, such as depression and anxiety. Some evidences have indicated positive effects of some types of exercise on reduction of depression and anxiety. The aims of the present study were: a) to evaluate the acute effects of exercise in the Xbox Kinect on the mood of the untrained elderly people; b) investigate possible correlations between the degree of enjoyment in the activity and improvement in mood. We selected twenty-nine elderly (15 men and 14 women), with age of 66,4 ± 0,8 years (mean ± standard error). The participants were evaluated in two conditions: Control Condition (CC), in which volunteers watched the film "The March of the Penguins" (60 minutes) and Experimental Condition (EC), which consisted of one session of exercise with the Xbox Kinect (60 minutes). The order of conditions was randomly defined. The mood state was evaluated in the pre and post-interventions using the POMS questionnaire (Profile of Mood States). The PACES Scale (Physical Activity Enjoyment Scale) was used to evaluate the degree of enjoyment. For both conditions, there was a significant reduction in the scores of tension-anxiety, depression and total mood disorder (p ≤ 0,05). There were not significant differences between the conditions for all studied variables. There was a significant negative correlation at the EC, between the percentage of enjoyment and the scores of tension-anxiety (r = -0.40), depression (r = -0.40) and total mood disorder (r = -0.49), evaluated by POMS (p ≤ 0,05). On the other hand, no significant correlations were found in the CC for the same variables. Thus, we could conclude that both activities promote improvements in mood state in untrained elderly, however, the effect sizes observed after CC were lower (smaller) those observed after EC (median), indicating most significant clinical effects in the EC. Moreover, higher enjoyment during the activity in the Xbox Kinect was associated with greater improvement in mood states.

The United States is a country of tradition belligerent. It is common to find in their public squares and monuments statues of military figures, in addition to reserve specific days to honor them, military parades and ceremonies are displayed in various regions of the country and numerous film productions are performed representing the U.S. involvement in world conflicts. It is felt that the war is part of its fundamental characteristics. Seeking to understand the aspects that have built this tradition and thus marked the history of the United States military interventions around the world, without limiting ourselves to explanations that emphasize only the imperialist interests, but taking into account ideological and dogmatic aspects, we reach a ideology formulated in the nineteenth century, in order to justify the U.S. right to intervene in another nation: the ideology of Manifest Destiny. The three ideas that form the three show Manifest Destiny of American beliefs that are part of their national identity and profoundly marked its history: Puritanism, democracy and capitalism. To peer into the permanence of these three beliefs motivating the U.S. military interventions in the XXI century and still seek mainly new elements that enrich our historical understanding of the American society in his belligerent relations with other regions of the world, analyze imagery of a document period, the film Black Hawk Down (Black Hawk Down, Hidley Scott, 2001), which refers to U.S. military intervention in Somalia in 1993 and eventually present the vision of its directors on the subject. As one of the forms of cultural expression more representative of the United States, the film ends up a material extremely rich set of information about the beliefs and customs United States.

This thesis interrogates the relation between film and human rights, based upon a fundamentally theoretical and conceptual approach whose ultimate goal is the openning of a broader research program: the elaboration of what I call a cosmopoetic atlas. Historically, the main modes of relation between film and human rights consist in the uses of images as documents to denounce violations and as part of the work of memory which surrounds those violations. In this kind of context, film takes part in the construction of an archive of evil, against which the “conscience of mankind” declares the principles of universal dignity of the cosmopolitical project of human rights. At the same time, film takes part in the construction of an archive of the common, in which the principles of human rights take up sensible forms. While interrogating the problem of the becoming-sensible of the “conscience of mankind”, one must acknowledge that one of the recurring motifs of the relation between film and human rights consists in the theme of the unimaginable and the problem of the missing images. Introduced through the reading of the 1948 Universal Declaration of Human Rights, the historical and paradigmatic example of the images picturing the Nazi camps and concentrationary experience rises up to a prominent place among the several studied objects, in an analysis of the archiving process of the camps’ images as sensible evidences of the unimaginable and of the forms of montage of the camps’ images as attempts at thinking their meanings and constructing the archive of their memory. While the fiction of Samuel Fuller and Orson Welles, for instance, tends to revisit the archive and to reorganize its elements following plots and interests which do not belong to the original contexts of the images, the documentary of Claude Lanzmann, for instance, finds its impulse in the refusal or, more precisely, in the denegation of the archive. Between the fictional rearchiving and the denegation, some experimental possibilities of remontage of the archive emerge, based upon the anarchivic openness which destructures and reorganizes its images, in films by Alain Resnais, Mikhail Romm and Jean-Luc Godard. Just as the cosmopolitical project of human rights depends on the becoming-sensible of the “conscience of mankind” for its universal dissemination, juridical concepts such as “genocide” or “crime against humanity” find one of their privileged forms of sensible inscription in film images.

The melodrama is popularly known as a genre that takes the viewers to tears, composed by great sentimentalism and exaggerated actors. Despite this popular idea has a real root, the melodrama characterizes itself mainly by the complex relationship with the public. This relationship of communication with viewers was determinant and strategic for the development of melodrama, as well as your upgrade and migration to other narrative forms. The first part of this research proposes a historic rescue of melodrama while genre, from its emergence in the theater during the 18TH century until their update by the cinema. The second part analyzes the relationship between melodrama, film and reception, from the studies on the cultural performances, it being understood that the viewer participates actively in the process of reception during a film session. Recognizing that updating the melodrama has kept a poetic communication full of emotion and with a strong educative and regulatory function. In the third part, one examines the film O Beijo no Asfalto, by Bruno Barreto, adapted from the eponymous dramaturgical text O Beijo no Asfalto, by Nelson Rodrigues. Searching elements that characterizes the melodramatic imagination, as well as, to point characteristics from melodrama reverberated in this film.

This thesis presents a cinematographic analysis of the short film named Film (1965) from the perspective of theatrical influence the Irish Samuel Beckett. Thus, this work brings together the film Film, the play Waiting for Godot and all the dramaturgical work written by the Irish playwright Beckett. Written and directed by Beckett and co-directed by the American stage director Alan Schneider, Film addresses the Irish philosopher George Berkeley’s “To be is to be perceived” principle. In turn, Waiting for Godot, Beckett's main play, approaches the conceptual tripod of all Beckettian dramaturgy, based on the concepts of time, memory and habit, so important to the French writer Marcel Proust. Therefore, this research is interested in discussing the “subjective self-performances” raised in the reader-viewer from the relationships established in the filmic-theatrical characters' plot of the beckettian.

A presente pesquisa investiga o nascimento do cinema e seu impacto nas outras artes narrativas, como a literatura, o teatro, o circo e as atrações pré-cinematográficas. Traçando paralelos entre os primeiros estilos de narrativa cinematográfica e a arte moderna, por um lado, e a tradição clássica, por outro, o estudo desvenda as reações de artistas e escritores interessados no cinema desde suas primeiras décadas e discute os elementos metalinguísticos dos primeiros filmes. Por fim, a pesquisa detalha as várias formas de tradução intersemiótica do texto literário para a narrativa audiovisual, estudando dois casos específicos de adaptação para o cinema do mesmo texto literário: Memórias Póstumas de Brás Cubas, de Machado de Assis. A partir da comparação entre as duas adaptações, este estudo investiga as estratégias de adaptação usadas pelos dois cineastas, uma delas mais identificada com o cinema moderno e a outra ligada à tradição da narrativa linear. As consequências das escolhas narrativas nos dois casos analisados revelam as tensões existentes entre a opção de realizar um filme autônomo ou de criar um filme que dependa da leitura do romance para a sua mais completa fruição

Esta tese aborda três assuntos relacionados a filmagem de objetos inanimados no cinema. No primeiro capítulo, estudamos o problema da ausência de movimento no cinema. Diante de certas perspectivas históricas e teóricas, a imobilidade pode representar uma contravenção a definição do cinema como arte do movimento. Nesse sentido, os objetos imóveis exprimem um dos termos dessa transgressão, de modo que debatemos as passagens entre imobilidade e movimento no cinema e, em particular, a filmagem de objetos imóveis. No segundo capítulo, investigamos as condições de autonomia dos objetos inanimados, partindo de uma bibliografia que analisa as intercessões entre sujeitos e objetos. O terceiro capítulo relaciona cinema e natureza-morta, descobrindo nos filmes com objetos os contornos de uma possível vertente cinematográfica. Este trabalho também envolveu a realização de dois curtas-metragens em vídeo protagonizados por objetos, “Adeus às Coisas” (2019) e “A Noite dos Lanches” (2020). A produção dos vídeos disparou os temas abordados na tese, de modo que essas duas instâncias, texto e filmes, eventualmente se remetem.

A pesquisa pretende discorrer sobre a transmissão do conto O espelho , de Machado de Assis, em diferentes mídias, tais como o periódico, o livro, o filme e a história em quadrinhos. Para tal, acolhemos, no corpus do trabalho, as edições na Gazeta de Notícias (8 set. 1882) e em Papéis avulsos (Lombaerts, 1882), incluindo as suas principais vulgatas (Garnier, 1920; Jackson, 1937), bem como as suas adaptações homônimas em filme (Becca Lopes, 2008; Rodrigo Lima, 2015) e em quadrinhos (Jeosafá e João Pinheiro, 2012). Com tal recorte, pretendemos demonstrar as diferenças de atuação das respectivas mídias, tendo em vista seus atributos materiais e linguagens distintas. Com este fim, na análise do periódico e do livro, destacaremos as variações textuais decorrentes da transmissão textual no meio impresso. Por sua vez, nas adaptações, apontaremos as leituras estabelecidas a partir do texto-fonte, como efeitos de objetivos distintos. Assim, pretendemos abarcar o cenário no qual o legado machadiano encontra-se continuamente disseminado tanto para o leitor quanto para o espectador