Doutorado em Arte e Cultura Visual (FAV)
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Item A poesia slam e suas des-margens(Universidade Federal de Goiás, 2023-11-17) Boleão, Jossier Sales; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Andrade, Emile Cardoso; Santos, Michelle dos; Guimarães, Leda Maria de Barros; Meira, Elinaldo da SilvaThis thesis is an exercise in looking at slam poetry, focusing on the movement in Brazil and making some reflections from the field of Visual Culture. Slam poetry emerged in the early 1980s in the United States and since then has spread to several countries. In Brazil, slam poetry arrived in 2008, the country being one of the references for the quantity and diversity of slam groups spread, in addition to other elements that make up many particularities of each group. The notes made in this text follow the trajectory that begins in the autobiographical path and expands in avenues when finding slam poetry, and understanding it as a poetic act, transfiguring itself into energy of resistance and occupation of seeing, hearing and feeling. The direction in which the thesis is constituted arose from the following questions: what visualities and countervisualities do slammers promote, summon and provoke, from the poems that overflow their bodies? Which narratives mobilize and want to propose? The consequences resulting from these inquiries originate in the investigative work that began in 2019, from the participation in poetic slam battles, in the city of Goiânia, in Goiás and, with the arrival of the covid19 pandemic, the research moved to the competitions that took place in the environment of digital platforms. Given this context, the material that drives the reflections presented here is diverse and comprises various nuances of what already exists in the systematization of slam poetry. That being said, the perspective addressed supported by visual culture covers the dimensions of the poetic act from a pedagogy of slam poetry, from its understanding as cirandas of knowledge anchored in popular education and in the politics of the word, in which the need becomes a voice and the poem becomes the terrain of revolution, since the event in the format of popular assemblies, adding the competitive element between artist poets. In addition, this thesis follows the paths of slam poetry as an insurgency through counterpoetry, in its decolonial exercise, since its aesthetics goes towards the sanación of colonial wounds, having as its power the poetic fabrication of the visual city, without losing the reflections of a pandemic poetics in a regime of denial in Brazil governed by the extreme rightwing, until the year 2022. It finally enters the conditions of this poetic work during longdistance connections by populating digital platforms with poetry and other sensitive exercises. The systematized elements are not intended to show fixed answers, but to point to other perspectives of looking at the slam poetry movement and at artists who reconfigure the scene in everyday life.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.