1,720,964 research outputs found
Otherness and identity in cinematographic fiction in Portugal and in Mozambique
No full textTese de doutoramento em Estudos CulturaisA presente tese visa compreender as representações identitárias veiculadas pelo cinema ficcional, em Portugal e em Moçambique, e como são negociadas por públicos de ambos os países. Mais especificamente, trata-se de perceber os modelos dominantes de representação de “nós” e do “outro” em longas-metragens de ficção de ambos os países, e posteriormente perceber como são discutidos por públicos portugueses e moçambicanos, filmes estreados entre 2006 e 2015. Durante este processo, descortina-se também a capacidade que o cinema contemporâneo revela, ou não, de propor imagens alternativas (aos referidos modelos dominantes) do “outro” africano/europeu. É levada a cabo uma aproximação ao Filme, nos dois países, em três etapas: analisa-se a construção das cinematografias, a circulação de Poder entre ambas e, mais especificamente, as formas de representação do “nós” na relação com um “outro”, sobretudo depois de 1975, porém considerando os legados anteriores. Depois, analisa-se o percurso e o discurso de autores específicos, sobre o cinema, os meios de produção, os regimes políticos e contextos internacionais, privilegiando o contributo dos cineastas, mas também o da crítica especializada e a legislação. Nesta fase, além de considerada globalmente a obra de cada autor, aprofundase a reflexão sobre um filme particular. Por fim, tendo como base discussões promovidas especificamente para esta investigação, analisa-se o discurso de públicos não especializados, em ambos os países, sobre o corpo fílmico selecionado. A reflexão que este trabalho constitui encontra uma profunda e pesada herança discursiva do passado colonial – ainda que por oposição, ou negação - tanto nos discursos fílmicos ao longo do tempo e no momento presente, como nas relações entre as culturas cinematográficas Portugal/Moçambique, ou Norte/Sul, como ainda nos diálogos que espectadores, de ambos os países, estabelecem com as obras e com um “outro” africano ou europeu. O cinema que ensaia contrapor discursos alternativos aos modelos hegemónicos comunica dificilmente com públicos não especializados e esta dificuldade é agravada pelo desinteresse mútuo (Portugal/Moçambique) a que ambas as cinematografias são votadas.This thesis aims at analysing the identity representations conveyed by fictional cinema, in Portugal and in Mozambique, and how they are negotiated by public of both countries. More specifically, it is intended to perceive the dominant representation models of "we" and "other" in feature films from both countries, and later on, to understand how films released between 2006 and 2015 are discussed by Portuguese and Mozambicans publics. During this process, is also possible to uncover the capacity that contemporary cinema reveals, or not, to propose alternative images (to the mentioned dominant models) of the African / European "other". An approximation to the study of Film in both countries is carried out in three stages: the construction of this cinematography, the circulation of power between the two, and, more specifically, the forms of representation of the "we" in relation with an "other", especially after 1975, but considering the previous legacy. Then, the course and the discourse of specific authors, about cinema, the means of production, the political regimes and international contexts, focusing on the contribution of the filmmakers, but also specialized criticism and legislation, are analysed. In this phase, in addition to being considered globally the work of each author, the reflection on a particular film is deepened. Finally, based on discussions promoted specifically for this research, is analysed the discourse of non-specialized audiences in both countries on the selected filmic body. The reflection that this work constitutes finds a deep and heavy discursive heritage of the colonial past - albeit by opposition, or denial - both in the filmic discourses throughout time and in the present moment, as in the relations between the cinematographic cultures Portugal/Mozambique, or North/South, as well as in the dialogues that spectators from both countries establish with the works and with an African or European "other". When Film tries to propose alternative discourses to hegemonic models hardly communicates with nonspecialized audiences and this difficulty is aggravated by the mutual disinterest (Portugal / Mozambique) to which both filmographies are voted
Transculturação e representatividade linguística em Ungulani Ba Ka Khosa: um "comparatismo da solidariedade"
No full textEste estudo apresenta o escritor moçambicano Ungulani Ba Ka Khosa (n. 1957) no que tem de próprio e de comum com outros autores das chamadas literaturas periféricas. Com uma obra relativamente pouco conhecida, Khosa serve-se de autênticas técnicas de vanguarda para captar e projectar dinâmicas culturais autóctones e seus imaginários. Considerando que só um conhecimento mais amplo das nossas culturas pode levar a um desenvolvimento mais sólido de estudos pelos paralelos, etapa fundamental para a demarcação dos campos literários dos países periféricos e afirmação das respectivas identidades, este estudo também procura valorizar a noção de 'comparatismo da solidariedade' (Abdala Jr., 1996) através de uma breve sistematização e disponibilização de algumas das principais dominantes da obra de Ungulani Ba Ka Khosa
Cláudio Fortuna entrevista Nataniel Ngomane - “Não sou lusófono, porque a minha matriz fundamental é bantu”
No full textNataniel Ngomane é director da Escola de Comunicação e Artes da Universidade Eduardo Mondlane, que lecciona os cursos de jornalismo, música, teatro e ciências da informação. O Semanário Angolense entrevistou este académico moçambicano, aquando da sua estadia em Luanda, para leccionar seminários de Mestrado na área de Estudos Comparados, o que “sinaliza uma nova parceria, agradável e necessária, dado o facto de ambos os países falarem a língua portuguesa e terem desafios comuns para construção..
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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