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Item Corpos em movimento a partir do olhar de Pina Bausch – construindo modos de dançar(Universidade Federal de Goiás, 2015-12-16) Araújo, Pedro Simon Gonçalves; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Martins, Raimundo; Berté, Odailso SinvaldoThis work is the result of a research project that was conducted by the Graduate Program in Art and Visual Culture, master´s level, in FAV-UFG, and aimed to immerse in the dance theater practice, through paths traced by the German choreographer Pina Bausch, who was a guide in the development os this research and helped me to answer personal questions, which the principal aim was to discover how our histories, memories and feelings are represented in body. This research started with a watchful eye in the dance history, as well as in the creative process of Pina Bausch to be able to understand the method of creating images by the body and her representations through cinema. Her unique movie “The Lament of the Empress” had an important function in structuring the Project, since questions that were shared with two other dancers in an immersive practive came from it, and led to the creation of a documentary that dialogues with the videodance and brings through interviews, essays and movements research a sample of a body-affective experience also shared with students from the Federal Institute of Goiás. In a play between theories and reports I sought the different perceptions of the body and dance, crisscrossing authors of visual culture, movement researchers, theories of representation, documentary, which merged with the reports of the meetings with dancers, ballet lessons, contemporary dance and some workshops. The aim was to achieve tangible answers that unravel the pathways of the body and image to find my dance through my body.Item Cinema e animação: poéticas de um vivência(Universidade Federal de Goiás, 2013-04-05) Brandão, Flávia Christina Leite; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Oliveira, Selma Regina Nunes; Silva Filho, Raimundo Martins daThis study aimed to mix in the work art experience theory and poetics. Were aggregated at the same level both religious and visual references of the author to produce a short film hybrid between live-action film and animation. The study of the archetypes Umbanda’s entities and the history and principles of animation also contributed, like the film hybrid between film and animation and analysis of the film Kill Bill I, chosen as the reference technique with which we bond our poetic. In the theoretical chapter the history of animation is based on the principles of technological devices of the season coming to current devices such as computers and software that were of great importance to the animation frame by frame made by the author. The choice of technique animated 2D is closely linked to technological devices today. We base ourselves on the theories of film analysis to conduct the analysis of Tarantino's movie and through this stimulus did correlate with in our practice we get elements of great importance for the production of the short film. Added to this analysis we also identify the archetype of character O'Ren Ishii that served us for the construction of the archetypes of our characters, creating a fine line between Tarantino references and references of the author. All this added to the theory and practice experience led us to achieving a live-action film and animation drawing on inspirations on religious experiences and professional author culminating in the production sequence and performing a short film essentially copyright.Item Análise e desenvolvimento de uma narrativa fílmica a partir do discurso fotográfico: Chris Marker como referencial(Universidade Federal de Goiás, 2012-06-13) Carvalho, Luciana Miranda de; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Guimarães, Leda; Mendonça, Maria Luiza Martins de; Monteiro, Rosana Horio; Gomes, Suely Henrique de AquinoThe 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.Item O inferno é aqui: a estética grotesca da banda cicuta e a representação poética transmidiática na obra viver até morrer(Universidade Federal de Goiás, 2015-04-10) Felipe, Frederico Carvalho; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Christino, Daniel; Silva, Thiago Fernando Sant'Anna; Mendonça, Maria Luiza Martins deThe objective of this work is to contribute to studies about the grotesque aesthetic in rock'n'roll and the use of different media platforms as a means of poetic styling and creating new narratives converge to Viver até Morrer. The grotesque as a visual representation of the anxieties and contradictions of an age full of constant daily shocks that the people is exposed challenge institutionalized social models through the aesthetics. The transmedia exhibition of the work provides an expansion of the fictional imaginary narratives through interconnections from different platforms and media languages such as animated film, the music video, comics and music.Item MekHanTropia: autoconhecimento e (re)existência em um universo transmidiático, experimental, colaborativo e autoral(Universidade Federal de Goiás, 2023-11-17) Felipe, Frederico Carvalho; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Franco; Berardo, Rosa Maria; Franco, Edgar Silveira; Andraus, Gazy; Nunes, Fabio Oliveira; Silveira, Guilherme Lima Bruno eHypercompetitiveness, hyperinformation, hyperproductivity and hyperconsumption – 24/7 (hours/days) – generate new anxieties in individuals who are increasingly standardized according to the market. Thus, I think poetically about this thesis-creation about how we currently deal with telematic flows and subjectivities today, placing myself through creative processes as an object of artistic experimentation to build a transmedia dream universe that I call 'MekHanTropia'. Through poetic artistic creations using different languages, tools and platforms, I create a cosmology that represents some of my subjective experiences in times of high human dispersion due to the pandemic. I envision ways to (re)exist through countercultural artistic resistance, questioning psychopolitical standards and Manichaean binaries dictated by the market and reflect, in this process, on collaborative art, experimental and conceptual art, poetic resignifications, polysemic relationships between art and technology, dreamlike narratives, intertextualities and other practices that aim at selfknowledge and confronting institutionalized mekHanTropic psychobinary obscurantism through resignification and artistic materialization.Item A estética do cinema nazista na produção dos sentidos na comunicação política no Brasil(Universidade Federal de Goiás, 2023-11-30) Jimenes, Roberto; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Silva, Thiago Fernando Sant’Anna e; Anjos Neto, João Dantas dos; Carneiro, Rose May; Costa, Marcelo Henrique daThere are many studies that address Nazi Cinema and this had a fundamental role in Hitler's plans, with cinema being the main means of communication used at the time. Several were the cinematographic languages used, however, studying Nazi cinema against the study of visual culture, it is possible to draw a parallel between some points: such as the relationships between visibility (what cinema provides), visuality (the new cinema: entertainment x politics) and power (Nazism), which transform the universe of symbolic understanding among the German population. Is it possible that, when analyzing the images of this cinema, we cannot propose a counter-visuality, if we consider its aesthetics associated with a new analysis of the production of meanings. The implications regarding these visual experiences in a society increasingly centered on the meaning of the gaze, and its repercussions even today in the universe of political and governmental communication in Brazil.Item VideoHQescultura: uma poética narrativa(Universidade Federal de Goiás, 2017-12-19) Machado, Fábio Purper; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Franco, Edgar Silveira; Silva, Thiago Fernando Sant’Anna e; Andraus, Gazy; Venturell, SuzeteThese are the processes of an artist researcher who discusses his poetic and traces its dialogues with operational concepts from different origins. The artistic work that is covered here consists of a series of creations of my own, which I call videocomicsculptures, and are defined as narratives in movement between the artistic fields of sculpture, comics and video. I choose to focus this research on the ones that result in videos, and that come to be permeated by issues from the fields of film, photography and animation. Relations between the senses of touch and vision that are experienced with the videocomicsculptures dialogue with the “Tactile Vision Theory” (José Val Del Omar) and with the concept of “image-time” (Gilles Deleuze), which contributes to this work with the notion of a cinema that proposes blocks of sensation with the materiality of filmed objects. There is a dialog with the “sculpture effect” (Régis Durand, Phillipe Dubois), by valuing tridimensionalities in the flat support of the video, and with the notions of “transmedia narrative” (Henry Jenkins, Edgar Franco) and “expanded comics” (Gazy Andraus), among other concepts that involve the plurality of means of telling stories. Relations between image and writing that are present in the videocomicsculptures are also addressed, as well as issues in common with poetics of other artists within these areas and especially in movement between them. Moreover, the tergiversative feature present in the textual portion of several of the works that compose the body of this research is taken as the guiding thread for the establishment of a fictional universe, here baptized “Fictional Tergiverse”. Some parameters and benchmarks are then developed for an initial exploration of an artistic field that is made of movements and boundary works between these chosen artistic fields.Item Bonecos na colônia penal: uma adaptação contemporânea de Kafka(Universidade Federal de Goiás, 2023-07-28) Neiva, Dustan Oeven Gontijo; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Oliveira, Flávio Gomes de; Machado, Fábio Purper; Oliveira, Ivan Carlo Andrade deStorytelling is an act pertinent to human beings in all societies and cultures. The ways of telling these stories are varied. Cinema uses the resource of adaptation of literary works, since its origin. In this investigation into art, I address the issue of transposing literary works to audiovisual, particularly animation. This is a theoreticalpoetic research that led to the production of an animation film based on the novel In The penal colony, by the Czech writer, Franz Kafka. In the development of this research, I use an autobiographical work methodology to establish the relations between Kafka's text and my creative process. The film The Penal Machine brings Kafka's work to the contemporary world, under my artistic perception.Item Bonecos que dançam catira: uma produção goiana em animação stop motion(Universidade Federal de Goiás, 2019-02-28) Neiva, Dustan Oeven Gontijo; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Oliveira, Flávio Gomes deThe present research aims to examine issues related to local identities and connected to the authorship production of animation films. This is a theoretical-poetic research that aims to produce an authorship movie in animation that reflects on the identity of Goiás. This research is based on theoretical studies on identity, regionality and the historical formation of the state of Goiás. The methodology of filmic analysis is used for the perception and understanding of identity elements in films produced by animators from Goiás, as well as the investigation of my creative process. From these considerations, the poetic production proposed in the research will be carried out.Item Vida de boneco: um filme para pensar a respeito do uso de bonecos em produções audiovisuais(Universidade Federal de Goiás, 2016-11-01) Oliveira, Flávio Gomes de; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Oliveira, Selma Regina Nunes; Silva, Thiago Fernando Sant’Anna e; Christino, Daniel; Franco, Edgar SilveiraThis work consists of a research on the use of puppets in many audiovisual productions, and also at analyzing the various types of puppets that are made for this type of application. After this analysis, map production system of this type of character by means of an inventory of the main characteristics that involve the proABSTRACT duction, use and animation of this type of character. Finally, propose the production of a short film made with various puppets that exemplifies the data obtained during the bibliographical research, this step presents the production processes of each type of puppet and the animation process thereof.Item A Representação Brasileira no Cinema de Animação Nacional, identidade, mercado cinematográfico e prática artística(Universidade Federal de Goiás, 2013-04-05) Oliveira, Isabela Veiga; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Martins, Raimundo; Oliveira, Selma Regina Nunes de; Franco, Edgar; Gomes, SuelyThis study aims to reflect varied viewpoints on the concept of "identity" and its development throughout history, emphasizing the post-modernity, its relationship with the social imagination, mass culture and memory. We direct this study to the Brazilian culture and cinema as a support for the representation of Brazilian identity. To demonstrate this concept reflected in national production and look at the film market in full development from incentive laws, we analyzed three animated feature films: Brichos (2007), A Turma da Mônica em uma Aventura no Tempo (2007) and Brasil Animado (2011). Finally, from these studies and personal experiences, we held the poetic "A Velha Gulosa", a fiction film with animated inserts, financed through municipal incentive laws.Item Escuta vibrátil(Universidade Federal de Goiás, 2014-02-28) Oliveira, Thaís Rodrigues; Berardo, Rosa Maria; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4721898T1; Berardo, Rosa Maria; Franco, Edgar Silveira; Stolf, Maria Raquel da Silva; Silva, Thiago Fernando Sant'anna e; Oliveira, Selma Regina Nunes deAn increasing recurrence of the image study has arose from researches attentive to the problematical that involves themes like culture and society. We are “imgetic” beings and the contemporary society of consumption has powered the sense of vision in our daily life. However, there are few researches that use the sound and its relation to what is called “visual culture”. From the perspective of the cultural studies and of the visual culture, the aim of this paper is to identify a possible “audible” culture and how identitary souding meanings can be stimulated in the spectator / listener of the audiovisual material. Based on the souding vocabulary of an investigation concerning to the sound produced internment by the human body, this research seeks the conception of a practical work with the use of these images and sounds not common to our daily life.Item Webdocumentário: a representação da ótica documental no ciberespaço(Universidade Federal de Goiás, 2015-04-14) Peixoto, Hugo Cardoso Brandão; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Nogueira, LisandroThis research has the intention to discuss documentary language expansion and its ramifications in cyberspace, focusing on webdocumentaries, analyzing the relationship between documentary traditions and new media narrative processes. In order to contextualize the new possibilities of documentary point of view representations, based on the multiple forms of contemporary audiovisual production, which, marked by continuous development of digital technologies, production and manipulation of images, form the broader context of new media. Founded on the creative freedom afforded by new media, documentary cinema widened, and with the tools of digital technologies, its creative process and its experimental possibilities have expanded. Generating new narrative patterns, which are powered at all times by new productions, resulting in the documentary field, a constant modification and development of its language.Item A poética dos estranhos no videoclipe “Electric Guitar” a partir dos discursos videográficos de Lady Gaga(Universidade Federal de Goiás, 2014-04-23) Pinto, Rafael Mendonça Lisita; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Martins, Raimundo; Mendonça, Maria Luiza; Silva, Thiago Fernando Sant'Anna e; Montoro, Tania SiqueiraThis dissertation results of the research developed throughout the Master’s Degree course within the Art and Visual Culture Graduate Program in FAV-UFG. It aims to investigate de representation of uncanny identities in music videos, starting out with some analysis of Lady Gaga’s videos, in order to develop my videographic discourse in my music video “Electric Guitar”. The main goal is to continue creating subversive audiovisuals, which consist in primary and complex products that contemplate several parameters of approach, exploring sensorial matters and establishing bonds with historical, sociological and cultural issues. The first chapter presents Lady Gaga and her artistic body of work which, curiously, defends minorities in spite of the singer being inserted into the star system. The second chapter introduces concept of “the uncanny”, from teoretical dialogues and, also, addresses their presence in music videos. The third chapter focuses on the study of music video as a audiovusal format, its relevance in visual culture and how they develop through media. The forth chapter reapproaches Lady Gaga’s music videos, selected according to this investigation theme, focusing on their analysis. The last chapter discusses the creative experience of “Electric Guitar” through my goal of reassuring the relevance of studying the uncanny and, also, my attempt to expand music video’s frontiers by employing new perspectives to them, without escaping the plastic aesthetics predominant in pop.Item Uma aurora, um crepúsculo – imagens da juventude estudantil da UFG no período final da ditadura militar: um jogo de poderes?(Universidade Federal de Goiás, 2017-06-13) Ribeiro, Itamar Pires; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Freitas, Luiz Antõnio Signates; Silva, Thiago Fernando Sant’anna e; Franco, Edgar Silveira; Silva, Ademir Luiz daThe main objective of this research is to produce a documentary that has as theme the experience of the participants in the studente movement, in UFG context, between 1979 and 1985, the last moments of Brazilian military dictatorship. That documentary focuses on reaction to images produced about and by youth college students at that time. The documentary will also deal with research of images and material documents. We will try to build an original soundtrack also genereted by sampling process, that is, sound reassembly of existing material. The soundtrack will be an element of expression and politica ideology. This work also proposes three new descriptive categories: micro power rizonomic network, visagem and symbolic accertion.Item O virtual na concepção de animação interativa na rede internet(Universidade Federal de Goiás, 2015-12-15) Rocha, Cláudio Aleixo; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Borges , Rafael de Almeida Tavares; Christino, Daniel; Franco, Edgar Silveira; Clímaco, José César TeatiniOur work aims to explore the interactive animation on the Internet and especially discusses the current narrative generalization implied by its interaction environment. Found on the relationship between interactivity and the concept of virtual, we argue that it is a way to expand the narrative structure of animations so as to increase the user’s engagement in their interactive environment. Therefore, the purpose of this investigation is to identify means of interaction that value the individual’s subjectivity evincing its importance as a fundamental element in the creative process. Along with all the theoretical findings we bring out herein, this research also ends up in presenting “Na mira do alvo” [Sights on Target], the artistic production we have developed in our PhD studies.Item Princesa, pra quê? Princesas, pra quem? Reflexos e reflexividades da disneyzação(Universidade Federal de Goiás, 2021-04-20) Rosenzweig, Patricia Quitero; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Montoro, Tânia Siqueira; Mendonça, Maria Luiza Martins de; Guimarães, Leda Maria de Barros; Rodrigues, Manoela dos Anjos Afonso; Berardo, Rosa MariaGuided by the phrase of Simone de Beauvoir that says: “nobody is born a woman, she becomes a woman”, I place myself in front of the academic mirror, I review trajectories I have beliefs and I assume my passion for visual arts. Willing to understand, from the point of view of Cultural Studies, the media relations of power linked to Disneyization, with attention to the visualities of princesses, I find my artistic expression on the screens and finally, I take my place of speech, as a woman, a Brazilian researcher, teacher, writer and audiovisual producer. I needed to understand what mobilizes thousands of women to mirror their lives in a hegemonic patriarchal culture, governed by imposing aesthetic and behavioral standards and engendered by visible social markers of difference, such as machismo, sexism, ethnicism, fatophobia. The creative process made me transpose the theoretical territorialities of visual culture, wander through identities in flux and reflect on what the visualities of princesses are and who they serve. What do women look for when mirroring their lives to these visualities? Through the magnifying glass of intersectional feminist studies, I take as my starting point the analysis of the screens of Disney cinematographic productions (1937- 2017) and of the media-images re-signified by the Disney Princess franchise (2019 - 2020). Without phenomenological or reception intentions, the theme inspires and guides me in the conduct of the art form that I define as poiesis of a transitory nature, essayistic under construction under contemporary contours, which flows through diverse speeches and performances. Using hybrid narrative devices, I propose the composition an art of contemporary post-production, a poetic and reflective documentary film that addresses the backing of Disneyization of culture in Brazil from the speeches of different social actors, bringing to light the strength of reflexivity of the images of Disney princesses on the female behavior and the possible reflexes of this visuality in the personal and professional life. And the result of this academic research in the arts located in the line of artistic poetics and creation processes of the PPGACV / UGF that transits theoretical nuances referring to the other lines of research of the program and is surprising both for the visual mannerism of decontextualization and recontextualization of the images of princesses used strategically by Disney directed at women, as well as by the linguistic resources of persuasion engendered in the temporal updating of the narratives aiming to generate new flows of identities. I view art form production as artistic poiesis, not as a cultural product. The Princess narrative, what? Princesses, for whom? It is essence, extract, an art form that addresses the nuances, reflexes and reflexivity of Disneyzação, from the perspective of social researchers, teachers of visual arts, artists, designers and mothers.Item Animação e diversidade: gênero trans e arte Sudaca – aquarelando com pigmentos naturais para além do azul e do rosa(Universidade Federal de Goiás, 2020-03-09) Santana, Janayna Medeiros Pinto; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo , Rosa Maria; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Flávio Gomes deYou, reader or reader, consider this text as an essay in which I bring part of my concerns and experiments from research in art, which has as a differential the focus on making conceptual images that illustrate a script for animation, which were watercolored with natural pigments. The proposal consists of developing, under the theme LGBTQI +, an animation script, until the production of watercolored manual drawings with natural pigments that represent it visually. It is projected through the theoretical-methodological construction of weaving, to take place through such a method in written and audiovisual language, to the elaboration of a final product, being a documentary about the process of creating these images that illustrate my script in a version for a storyboard. The proposal is structured around the protagonism of history by a trans character (woman / girl), in the name of a Sudanese art, which seeks to break with the ideological paradigms of a hegemonic western culture, which presents the differences in stigmatized, violated and silenced. Dialoging with the place, the Cerrado, and the re-existence of this biome in the face of an agricultural culture that devastates it out of ambition, in the name of food and the maintenance of society. I sought to explore its natural diversity in terms of its color palette to be printed in watercolors, where I come to call for a policy of identities and place. In a “tangle” of relevant discussions, the fact of the emergency in dealing with current and controversial issues, such as the re-existence of trans people and the confrontation of violence to the LGBTQI + group, stands out and together problematize the re-existence of the Cerrado biome, highlighting it o in its plurality.Item “...se eu fosse uma flor...”: o cinema como dispositivo tecnopoético produzindo simbólicos identitários de uma mulher negra(Universidade Federal de Goiás, 2014-12-04) Santos, Júlio César dos; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Kaminski, Rosane; Montoro, Tania Siqueira; Franco, Edgar Silveira; Silva, Thiago Fernando Sant’Anna eThis thesis presents an analysis of the film's creative process "... if I were a flower ..." directed by Marta Cezaria de Oliveira, a black feminist movement militant woman in Goiás, with the understanding the fundamentals of cinema as technopoetic device and cinematic representations of black female identity as human condition symbolic. The film directed by this black woman, in her first film production, evidence how much her political, religious, hardworking and black woman condition infers an aesthetic and visual poetic marked by the idea of art as collective action. The Marta’s film presents a multifaceted identity mosaic formed by different black women views represented there, with whom Martha establishes an intersubjective political dialogue, dialogue that takes place in the territory of femininity and blackness, producing symbolic identity, among other of a flower metaphor and projection of themselves perceptions. Marta holds more than a documentary film, produces a manifest, an ideological political instrument leads to a poetic guided by the main objective of the black women movement what is to produce states of race and gender consciousness and empowerment, considering at the same time the collective and the subjectivity in their political relations. This thesis shows questions that challenge the black women stereotypes, in their own visions, that asks the "being for others", assuming a position of political subject, historical, cultural and subjectively, and the "being for itself" - field in which black women interpellate contemporary society to its foundations in antiracism feminist struggle. Finally, it is shown that the Marta’s black woman condition leads her to produce a "black film" in line with what is proposed by the black movement and the awareness of this condition, without considering the black woman as a victim or heroin, but a subject of hers own history. Representing black women through this film, Marta Cezaria de Oliveira interferes in the process of identity construction of black women and to take ownership of these images alters their subject positions for themselves and others, causing disruptions in their fundamental human condition as therefore, transforming and breaking what seemed predestined them by hegemonic white masculinist culture.Item Mulheres que dirigem filmes em Goiás e a criação de um documentário sobre ser mulher fazendo filme: 1966 a 2022(Universidade Federal de Goiás, 2023-06-30) Silva, Naira Rosana Dias da; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Dias, Luciene de Oliveira; Montoro, Tânia Siqueira; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Flávio Gomes deSince 1966 women have directed films in the state of Goiás, Brazil. However, it is known that these women were erased or appeared as supporting actors in movie scripts by male authors. There are still few scholarly works that investigate cinema made in the Brazilian state Goiás, especially if the criterion consists of a thesis written on this subject and, moreover, written by a black female author who reveals her feminist view on issues involving gender and race in films depicting Brazilian region. This exploratory research, centered on personal narratives, creative processes, and the experience of being a woman working in contemporary cinema presents a descriptive table of 131 women who directed films in the state of Goiás. This number represents a total of 306 films produced from 1966 to 2022. It is important to consider that the designation director, referenced and introduced here, does not only refer to the filmmaker who has built a career over the years, recognized in important festivals, or by the production of sophisticated films; director, in this study, is the woman who exercised this function even if the film was made in a straightforward manner or simply presented in film clubs or cultural spaces. Two pioneers of cinema in Goiás ‐ Cici Pinheiro and Rosa Berardo, and the process of creating their films, respectively: the unfinished and disappeared O Ermitão do Muquém and André Louco (1990) ‐ reveal the beginning of the history of female directors in Goiás. The phenotypic issue of the multi‐artist Cici Pinheiro is examined, whether because she came to be recognized as a black woman, or whether the racial issue had never been discussed in any previous writing that addressed her. Even though Cici Pinheiro's film had not been finalized, she embarked on the direction of a feature‐length fiction film in 1966, even before the black female filmmaker Adélia Sampaio from the state of Minas Gerais in Brazil, who needs to be highlighted. Special attention is also given to women who directed animations, due to the rarity of this in Goiás, and to black and indigenous women directors for the same reason, but also due to the racial cut of the researcher, a black woman author behind the camera. Some directors were interviewed in depth, others answered a semi‐structured questionnaire, recorded for the composition of the documentary: Women who direct films in Goiás, the result of this research, in which the process of creation of their making is narrated. The following directors were featured: Ana Luíza Reis de Sá, Cris Ventura, Marta Kalunga, Silvana Beline, and Rosa Berardo. The study prioritized female authors, specifically filmmakers who have recently published collections: Holanda and Tedesco, 2017; Silva, C., 2017; Holanda, 2019; Lusvarghi and Silva, 2019; Tedesco, 2021, and Martins, R., 2021. Museum archives, catalogs printed and online, newspapers, various websites, old blogs, YouTube, Vimeo, CVs, and social networks of the directors were consulted for data collection. Therefore, this research is a contribution to studies that address women and the History of Women in Cinema in Brazil and the state of Goiás.