https://ri.ufs.br/jspui/handle/riufs/10166 2026-04-26T03:41:01Z 2026-04-26T03:41:01Z Ribeiro, Daniel Ferraz Tanan https://ri.ufs.br/jspui/handle/riufs/24776 2026-03-13T17:41:05Z 2026-02-25T00:00:00Z

Título: Conexões: Yasujiro Ozu e a Nouvelle Vague Japonesa Autor(es): Ribeiro, Daniel Ferraz Tanan Abstract: This dissertation explores the formal, aesthetic, and thematic connections between the work of Yasujiro Ozu and the Taiwanese New Wave movement, focusing on directors Hou Hsiao-Hsien and Edward Yang. Although separated by decades and distinct historical contexts, these cinemas share similar approaches to time, memory, and everyday life. Ozu’s minimalist mise-en-scène, focus on domestic spaces, and the philosophy of mono no aware influenced a generation of filmmakers seeking contemplative and emotionally resonant cinema. The first part presents an overview of the New Wave as a transnational movement, from its French origins to its manifestations in Japan. The study then turns to Ozu’s work, emphasizing his connection to shōshimin-geki, his use of static shots, elliptical cuts, and family-centered narratives. Finally, it examines the rise of the Taiwanese New Wave during a period of political and cultural transition, especially after the end of Martial Law in 1987. Films such as A Time to Live, A Time to Die (1985) and Taipei Story (1985) show aesthetic and philosophical affinities with Ozu. This comparative analysis is grounded in bibliographical research and film analysis, drawing on authors like David Bordwell (1988), James Udden (2007), Paul Schrader (2018) and Woojeong Joo (2017). The conclusion highlights Ozu’s lasting impact on contemporary Asian cinema, as both stylistic and philosophical inspiration that reverberates in different times and different cultures.

2026-02-25T00:00:00Z Silva, Laura da Costa Tourinho e https://ri.ufs.br/jspui/handle/riufs/24687 2026-03-02T15:31:52Z 2025-08-27T00:00:00Z

Título: A estética da opacidade como tensionamento da representação transparente: (re)construção discursiva e imagética em The Rocky Horror Picture Show Autor(es): Silva, Laura da Costa Tourinho e Abstract: This research examines the cinematographic image as a territory of dialectical conflict between the discursive constructions of transparency and opacity. The investigation is guided by Michel Foucault’s archaeology of knowledge, through which the classical episteme is identified as a regime of visibility grounded in rationality—one that subjected the image, along with other forms of representation, to a normative system oriented by notions such as verisimilitude. This dissertation argues that the structuring of filmic norms, such as classical découpage, was influenced by belief in this episteme, consolidating itself as an expression of a rationalistrepresentational project that sustains the illusion of transparency. To deepen this analysis, the research investigates how the classical episteme was expressed in philosophical reflections on aesthetics, examining the contributions of Baumgarten, Kant, and Schopenhauer. Subsequently, in the discussion of opacity as a disruptive force, the thoughts of Heidegger and Rancière are addressed. It is within this framework that the chosen filmic object, The Rocky Horror Picture Show (1975), is analyzed—understood here as a film that embodies opacity as a critical and political gesture. The conclusions indicate that the film mobilizes opacity not by breaking with the linearity of découpage, but through strategies such as parody, genre hybridization, ambiguity in the representation of gender and sexuality, the use of archetypes, and selfreferentiality. These elements destabilize the hegemonic discourse of transparency and reconfigure the boundaries of the visible.

2025-08-27T00:00:00Z Oliveira, Douglas Felipe dos Santos https://ri.ufs.br/jspui/handle/riufs/23327 2025-09-30T13:58:09Z 2025-02-24T00:00:00Z

Título: A mise em scène e o cinema de ação: a autoria na franquia Missão Impossível Autor(es): Oliveira, Douglas Felipe dos Santos Abstract: This research investigates authorship in cinema through the Mission: Impossible action franchise (1996–2023). Divided into two parts, the first examines the poetics of action cinema, its industrial dynamics, and stylistic approaches, drawing on theories of cinematic aesthetics and the works of Jacques Aumont, David Bordwell, Gilles Deleuze, Luiz Carlos Oliveira Jr., Jennifer M. Barker, among others. This section explores the relationship between genre conventions and artistic innovation, highlighting physical spectacle and technique as key elements of the auteur discourse in action cinema. The second part analyzes the films in the franchise under the direction of filmmakers such as Brian De Palma, John Woo, J.J. Abrams, Brad Bird, and Christopher McQuarrie, investigating how each director leaves their authorial imprint through mise en scène and the construction of Tom Cruise’s synthesized image. Additionally, the actor’s physical performance is examined as a central aspect of this process, emphasizing his aesthetic influence throughout the series.

2025-02-24T00:00:00Z Ramos, Victor Adriano https://ri.ufs.br/jspui/handle/riufs/23179 2025-09-22T14:46:02Z 2022-04-29T00:00:00Z

Título: Tem negra nessa novela? representação da mulher negra em Lado a Lado Autor(es): Ramos, Victor Adriano Abstract: The present work undertakes an analysis of the presence of black women in the telenovelas of Rede Globo, focusing on the productions between the years 2010 and 2020. When performing the survey of the works produced in the period, we highlight those in which black female characters have reached the leading role. Thus, we selected the telenovela Lado a lado (2012-2013) as object of analysis, understanding that its plot highlights black characters placing them as protagonists of its narratives. From the selection of the corpus, we focused on the methodological construction from black feminist thought and the conceptions of social analysis developed by the American authors Patricia Hill Collins (2019) and bell hooks (2019)", in addition to the Brazilian sociologist Lélia Gonzalez (2020). Having established thes theoretical perspectives, we seek to undertake a content analysis highlighting the categories advocated by such authors. The methodological process uses the concept developed by Rose (2002), entitled "moving image analysis", which takes into consideration the specific analysis of television phenomena. Our central tension is to understand how these representations act to break stereotyped notions of the black population in general and specifically of the black woman, or if they maintain racist and predetermined concepts, which are the common way in which the black population is represented on broadcast television in Brazil.

2022-04-29T00:00:00Z