161,863 research outputs found
Helena Solberg: trajetória de uma documentarista brasileira
No full textThis thesis discusses the documentary films of the Brazilian filmmaker Helena Solberg, consisting of twelve documentaries produced in the United States and in Brazil in the last 47 years. We have identified several different phases of the filmmakers career Cinema Novo; The Women Trilogy, the Political Phase, and the Enchantment with the power of words in her current phase, in an effort to demonstrate that Helena Solberg has a singular and coherent body of work in the context of Brazilian documentary production and that she remains faithful to the thematic and stylistic elements that inform her directorial universe without losingsight of the transformations in documentary film language and international tendencies in the last five decades. This study aims to fill the gap in terms of references to her work and career in the bibliography of Brazilian documentary filmmaking, and identify the stylistic and thematic elements that inform her creative universe.Esta tese percorre a filmografia documental da cineasta brasileira Helena Solberg, que compreende doze documentários realizados no Brasil e nos Estados Unidos nos últimos 47 anos. Identificamos as diferentes fases da cineasta: Cinema Novo; Trilogia da Mulher; fase política; e o encanto pela expressão da palavra em sua fase atual. O objetivo foi demonstrar que Helena Solberg tem trajetória singular ecoerente no contexto da produção documental brasileira e que se mantém fiel aos elementos temáticos e estilísticos que compõem seu universo autoral, sem perder de vista as transformações na linguagem do filme documentário e as tendências internacionais nas últimas cinco décadas. Esse estudo visa a reparar a lacuna de referências ao trabalho e ao percurso da cineasta na bibliografia sobre o filme documentário no Brasil e identificar os elementos estilísticos e temáticos que conformam seu universo criativo
Helena Solberg: trajetória de uma documentarista brasileira
No full textThis thesis discusses the documentary films of the Brazilian filmmaker Helena Solberg, consisting of twelve documentaries produced in the United States and in Brazil in the last 47 years. We have identified several different phases of the filmmakers career Cinema Novo; The Women Trilogy, the Political Phase, and the Enchantment with the power of words in her current phase, in an effort to demonstrate that Helena Solberg has a singular and coherent body of work in the context of Brazilian documentary production and that she remains faithful to the thematic and stylistic elements that inform her directorial universe without losingsight of the transformations in documentary film language and international tendencies in the last five decades. This study aims to fill the gap in terms of references to her work and career in the bibliography of Brazilian documentary filmmaking, and identify the stylistic and thematic elements that inform her creative universe.Esta tese percorre a filmografia documental da cineasta brasileira Helena Solberg, que compreende doze documentários realizados no Brasil e nos Estados Unidos nos últimos 47 anos. Identificamos as diferentes fases da cineasta: Cinema Novo; Trilogia da Mulher; fase política; e o encanto pela expressão da palavra em sua fase atual. O objetivo foi demonstrar que Helena Solberg tem trajetória singular ecoerente no contexto da produção documental brasileira e que se mantém fiel aos elementos temáticos e estilísticos que compõem seu universo autoral, sem perder de vista as transformações na linguagem do filme documentário e as tendências internacionais nas últimas cinco décadas. Esse estudo visa a reparar a lacuna de referências ao trabalho e ao percurso da cineasta na bibliografia sobre o filme documentário no Brasil e identificar os elementos estilísticos e temáticos que conformam seu universo criativo
Cineastas brasileiras em tempos de ditadura: cruzamentos, fugas, especificidades
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2013.Esta tese trata dos filmes realizados por três diretoras brasileiras durante o período da ditadura militar (1964-1985), atravessados pela irrupção das reivindicações de emancipação e igualdade para as mulheres, principalmente nos anos 1970, e pela repressão do regime militar e seu órgão de censura, que buscavam moralizar a sociedade e manter as mulheres em seus papéis privados, tradicionalmente estabelecidos dentro da cultura e da sociedade brasileiras. Diante desse contexto, busco cartografar os caminhos por onde passam as carreiras de Helena Solberg, Tereza Trautman e Ana Carolina, esboçando e delineando contatos, circulações, citações e influências por meio de outros filmes e cineastas, do movimento de resistência à ditadura e dos #novos cinemas# que surgem a partir dos anos 1950, no período pós-segunda guerra mundial, entre eles o chamado #cinema de mulheres#, que trato aqui como um acontecimento. De maneira radical, essas diretoras adquiriram agenciamento, expandindo os horizontes da esquerda e questionando irreversivelmente o lugar das mulheres dentro das propostas de uma nova sociedade. Os efeitos de uma herança póscolonial perpassam a produção cinematográfica latino-americana, gerando no período recortado a necessidade de se buscar uma #identidade#, relacionada à resistência e a um sonhado novo cenário político, cultural e socioeconômico. A busca de novas estéticas estava intimamente ligada à política e isso esteve presente no trabalho dessas diretoras. A particularidade do cinema realizado por elas é a meta de compreensão desta tese, que busca seus cruzamentos, fugas e especificidades, que se expressam através da linguagem fílmica, mas que se fundem ao cenário de reivindicações dos movimentos sociais contemporâneos.Abstract : This thesis deals with films made by three Brazilian women directors during the military dictatorship (1964-1985), together with the eruption of claims of emancipation and equality for women, mainly in the 1970's, and by the repression of the military government and its censorship organism, which tried to moralize society and keep women in their private roles, traditionally established inside Brazilian culture and society. In this context, I intend to draw a map of the pathways by which passed through Helena Solberg, Tereza Trautman and Ana Carolina's careers, drafting contacts, circulations, citations and influences through other films and directors, the movement of resistance toward the dictatorship and the "new cinemas" that emerged from the 1950's, in the post-second world war period; between them "women's cinema", which I understand here as a happening. In a radical way, these directors acquired agency, expanded the left horizons and irreversibly questioned the place of women inside the purposes of a new society. The effects of a post-colonial heritage crossed Latin-American film production, generating at that moment a necessity of looking for an "identity" related to resistance and to the dream of a new political, cultural and social-economical scenario. The search of new aesthetics was closely related to politics and it was represented in these directors' films. This thesis goal is the particularity of the cinema made by them, looking for their crossroads, escapes and specificities, which are expressed through filmic language, but that are mixed to the contemporary social movements' vindications scenario
Um 1968 mirim? Notas sobre Meio-dia, de Helena Solberg
No full textO artigo discute o modo como o curta-metragem de ficção Meio-dia (Helena Solberg, 1970) comenta e integra o espírito insurrecional de 1968 em sua dramaturgia e em sua forma artística ao reatar com uma tradição cinematográfica mais antiga de rebeldia infantil
Variations on the Author
No full text“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
Helena Solberg: a brazilian filmmaker in a US television station
No full textEste ensaio circunscreve o seguinte argumento: as ideias de Raymond Williams sobre a televisão como forma e experiência cultural ampliam a compreensão sobre o período em que a cineasta brasileira Helena Solberg dirigiu diversos documentários para uma emissora de televisão norte-americana na década de 1980. Para sustentar este argumento, nos apoiamos em análises tecidas por Raymond Williams em Television (1974) e nas pesquisas sobre a trajetória de Helena Solberg realizadas por Mariana Tavares e Ana Maria Veiga. Como resultado, esperamos explicitar como os documentários dirigidos por Helena, financiados e exibidos pela emissora estadunidense Public Broadcasting Service (PBS), integram usos e práticas televisivas mais democráticas, que a partir de Williams podem ser mais bem contextualizadas e compreendidas.This paper argues that Raymond Williams’ ideas about television as cultural form and experience broaden the understanding the trajectory of Helena Solberg’s, a Brazilian filmmaker who directed several documentaries for a North American television station in the 1980s. To support this argument, we rely on the analysis made by Williams in Television a (1974) and the research on the Helena Solberg trajectory carried out by Mariana Tavares and Ana Maria Veiga. As a result, we explain how Helena’s documentaries, funded and broadcast by PBS (Public Broadcasting Service), constitute more democratic uses and practices that, considering Williams, can be better contextualized and understood
Risks and benefits of oxygen in delivery room
No full textOxygen is an essential element of aerobic life, and oxidative metabolism represents a principal source of energy. Nevertheless, oxygen may also be toxic and mutagenic with the potential to cause damage through the production of reactive oxygen species (ROS). ROS generation can be considered a double-edged sword. Beneficial effects of ROS occur at moderate concentrations and involve physiological roles in cellular responses to noxia, as in defense against infectious agents, in the function of a number of cellular signaling pathways and the induction of a mitogenic response. The overproduction of ROS and the insufficiency of an antioxidant mechanism results in oxidative stress (OS), a deleterious process and important mediator of damage to cell structures and tissues. Newborns, especially if preterm, are particularly susceptible to OS and damage due to increased generation of ROS, the lack of adequate antioxidant protection, and the inability to induce antioxidant defenses during the hyperoxic challenge at birth. Hence the "Oxygen Paradox": higher eukaryotic aerobic organisms cannot exist without oxygen and without OS, yet oxygen and ROS are dangerous to their existence. Originally, the oxygen paradox described that the injury was aggravated by giving oxygen after hypoxia. Today, we know this is caused by production of oxygen radicals. Therefore, it is mandatory in the handling of newborns to use oxygen as a medication when clinical surveillance indicates a need
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Larry O. Spencer, Conference Author Presentation
No full textGen. Larry O. Spencer, USAF (Ret.), author of Dark Horse: A Journey from the Horseshoe to the Pentago
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