Navegando por Autor "Távora, Adérito Schneider Alencar e"
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ItemO rap do Pequeno Príncipe contra as almas sebosas : escala de abordagem, sujeito e narrativa no cinema documentário brasileiro /(Universidade Federal de Goiás, 2015-02-20) Távora, Adérito Schneider Alencar e; Serpa, Elio Cantalício; http://lattes.cnpq.br/7856851919811733; Vilela, Ana Lúcia Oliveira; http://lattes.cnpq.br/8637723867327380; Serpa, Elio Cantalicio; Abdala, Roberto; Sandes, Noé Freire(Sem resumo em outra língua) ItemA dama do cine Shangai: um filme noir no limbo da história do cinema brasileiro(Universidade Federal de Goiás, 2019-07-08) Távora, Adérito Schneider Alencar e; Arrais, Cristiano Alencar; http://lattes.cnpq.br/0048549261262609; Silva, Ademir Luiz da; Caetano, Daniel; Vilela, Ana Lúcia; Gomes, Ivan Lima; Arrais, Cristiano AlencarThe lady of Cine Shanghai: a film 'noir' in the limbo of the history of Brazilian cinema is a thesis of history of the Brazilian cinema that is dedicated to the film The lady of Cine Shangai [A dama do Cine Shangai], produced in the 1980s and directed by Guilherme de Almeida Prado, a filmmaker from São Paulo. The film is a noir genre movie and also a postmodern, either mannerist work. However, despite the relative success and a recognized aesthetic quality, the film is relegated to a secondary place in the Brazilian cinema ́s historiography. Thus, the purpose of this research is to understand the main reasons that ended to put this work in the background of Brazilian cinema. The central hypothesis is that the researches and film reviews in Brazil tend to canonize works that focus on political or sociological issues. There is a predilection for Cinema Novo and Cinema Marginal, such as for films produced in the “Retomada” period, that somehow dialogue with these previous movements. Therefore, in this research, I perform a vertical analysis of the film, but also seek an understanding of the context of production and launching of the film, as well as a general panorama of the Brazilian cinema ́s history. In addition, I intend to comprehend the main reasons that lead a particular film to be canonized by the Brazilian film reviews. Thus, I take into consideration in this research both the discussion about the aesthetic and mise-en-scène modern and postmodern, in the 1980s Brazilian film market context, with the Embrafilme crisis. In addition, being especially a film of genre, The lady of Cine Shanghai is analyzed taking into account the historicity of noir. The main sources of this thesis are: the book 100 best Brazilian films, from the Brazilian Association of Film Critics (Abraccine); the Brazilian films of the 1980s present in this canon; and the film The lady of Cine Shanghai itself.