Doutorado em Performances Culturais (FCS)
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Navegando Doutorado em Performances Culturais (FCS) por Por Orientador "Satler, Lara Lima"
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Item O circuito cultural brasileiro e a crítica de cinema: um estudo sobre a recepção especializada dos filmes de Mazzaropi(Universidade Federal de Goiás, 2022-07-21) Junqueira, Juliana; Corrêa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Martins, Alice Fátima; Satler, Lara Lima; Fernandes, Ana Rita Vidica; Abdala Júnior, Roberto; Corrêa Junior, Sebastião RiosWith success with the public and the maintenance of a powerful national film industry over approximately thirty years, São Paulo filmmaker Amácio Mazzaropi was continuously evaluated by specialized critics between the 1950s and 1980s. comics by the filmmaker, addressed political and social issues characteristic of Brazilian society such as racism, machismo, exploitation of the worker, rural exodus, gentrification caused by the emergence of cities, among others. Even so, his productions were considered alienating, repetitive, simplistic, conformist and technically fragile. The objective of this thesis was to understand the critical reception that the works received over the years. We investigate Mazzaropian cinema within a social and historical context, in order to include them in the film analysis, going beyond the imagistic and semantic aspects of the films. Therefore, we sought to understand Mazzaropi's cinema, observing its history, evolution and relations with the national reality and also to understand the context of Brazilian cinema during the artist's production period. The theoretical-methodological paths of the research are linked to the fields of Cultural Studies and Cultural Performances, and Richard Johnson's Culture Circuit was chosen as the theoretical methodological path for the development of the analyses. Three films by Mazzaropi were analyzed: Sai da Frente, Meu Japão Brasileiro and Jeca e Seu Filho Preto, each one corresponding to a decade of work by the filmmaker, in the first as an actor and in the last two as an actor and owner of his production company. to Amacio Mazzaropi Productions. The films were selected from the texts of critics found in the press. From the large amount of reviews researched on electronic sites such as Hemeroteca Digital and digital collections of periodicals, we selected those with the highest density and written by professionals with a relevant professional trajectory in the cinematographic field. In this way, from the bibliographic research and analysis, through the Culture Circuit, of the selected films and the reviews published about them in the press of the time, we obtained a greater knowledge about the Mazzaropian production and we found evidence that proves that the place and the time in which the reviews were written influenced the specialized reception of the filmmaker's work. Thus, we found that the social, political and historical context in which the films were released influenced the critics' reading and that the approach to social problems, through comics, prevented a less stereotyped specialized reading of Mazzaropi's films.Item A performatividade do fio e da linha nas aulas de artes visuais(Universidade Federal de Goiás, 2023-02-13) Silva, Marcia Inez da; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Silva, Elsieni Coelho da; Freitag, Vanessa; Hartman, Luciana; Costa, Marcelo HenriqueThis research is a reflection on the performativity of the "thread and the line" in the teaching of the Visual Arts and intends to raise the debate about art as a field of research and teaching experience. The justification for the work lies in the relevance of reflecting on the teaching-learning process of the curricular component Art, in the early years of elementary school, by teachers without specific training based on the aesthetic codes of erudite art, which may imply vague conception of art and even lack of repertoire. Thus, the research is guided by the general objective: to reflect on the performativities of yarn and line in the teaching of Visual Arts, through workshops taught by me, using these materials with children from the early years of elementary school, experiencing the acts of embroidery, crochet, sew, weave and patch. In addition, I point out that it also aims to map artists and traditional textile collectives from Brazil and Latin America, investigating textile art in the production of intercultural audiovisual narratives through workshops, talking about performances, emotions and memories with the thread and the line in their daily lives, in a decolonial and transgressive perspective. In this sense, the research problem is the questioning about how my teaching practice, as regent, in the early years of elementary school, in the teaching of arts, can be transformative, not mechanical, based on dialogue, with a significant aesthetic experience, from the visualities present in the daily lives of students. Thus, when investigating performativities with yarn and line, I discuss the symbolic representations about the stories and affections of subjects who, using needles and cloths, produce scenes and plots, with hybrid creative processes that unite performance, interventions and technologies in the criticism of gender, aesthetic, ethnic-racial and social issues, as references for an art teaching. I also reflect on the importance and challenge of teacher training to promote a transgressive visual arts education with ample possibilities to teach the various aesthetic codes from a decolonial perspective, in plurality, for self-knowledge and social transformation. The research methodologies used were: field research with collectives and textile artists; action research with children aged 8 to 11 years at the Olegário Moreira Borges Municipal School (Goiânia), in ten workshops in the teaching of visual arts, involving TICS with the production of photographs and videos in the process of teaching and learning. Faced with the emergence of social isolation, which occurred due to the COVID-19 pandemic, the workshops were conducted in a hybrid way, in a mix between face-to-face and remote, which also generated reflections on teaching. As a result of the workshops in the teaching of visual arts, it was possible to experiment with threads and lines and reflect on the various developments caused by intercultural dialogues, based on the aesthetics of everyday life, permeated by digital technologies; and it was also possible to see that the textile poetics of artists and collectives of Latin American production brought to light problematizing questions about gender, ethnic-racial relations, identity and belonging, enabling literacies, image interpretations, writings and debates about the lived world. Thus, this research addresses art as experience, touching the lives of students and teacher, providing us the learning that thought and actions provoke reactions; and these, if thought and reflected, generate transformations, enable us to act differently, changing our lives and that of others. Finally, the lesson remains: learning to teach to look and think is to promote transgression and change through education.Item A performance do ator-personagem na cinematografia de narrativa híbrida brasileira: processos criativos, ritualidades e transformações(Universidade Federal de Goiás, 2023-02-14) Ventura, Cristiane Moreira; Penafria, Manuela Maria Fernandes; ttp://lattes.cnpq.br/5502283410812953; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Souza, Geórgia Cynara Coelho da; Talga, Jaqueline Vilas Boas; Pessuto, Kelen; Baggio, Eduardo TulioIn the last decade (2010-2020), we have been following the emergence of a Brazilian cinematography, which uses in its strategy of performing the actor-character and his life stories in the construction of a hybrid narrative, which oscillates between fiction and the documentary. Many of these films are built from real characters who perform situations that are specific to them or close to their daily lives, together with fictional situations. Such procedures have become recurrent in Brazilian independent and post-industrial cinema. Observing this phenomenon, we have the following hypothesis: the presence of these actor-characters in the films provokes a series of transformations, both in the actor-characters and in the narrative structures, in the modes of cinematographic production and mainly in the ways of making documentary. As a methodological path, we undertook a historicization of hybrid cinema in the Brazilian context, through bibliographical research, we investigated the relationships between the inheritance of the representation of the other in documentary, in view of decolonial thinking. We use the comparative methodology of filmic constellations to establish approximations with regard to the procedures for making these films, observing the affinities and affectations of this cinematographic community. And, in order to understand the transformations that take place with the actor-character when starting in the cinematographic rite, we conducted in-depth interviews with directors, members of the technical team and with actors from six different films. Still, we carried out an ethnography of a hybrid film set in order to examine the praxis of the entire creative process of this form of realization, in order to understand the needs, difficulties and potential of this cinema, which through the ethics of invention, of performance of itself, it projects a new possibility of narrative and life. As a result of this research, we hope to provoke reflections on the teaching of filmmaking, as well as on the formulation of notices to promote audiovisual production.