https://ri.ufs.br/jspui/handle/riufs/10165 Thu, 30 Jul 2026 16:15:15 GMT 2026-07-30T16:15:15Z http://ri.ufs.br:80/retrieve/c7e87c81-e27a-44ee-b6a9-999e80a54c4f/PPGCINE.jpg https://ri.ufs.br/jspui/handle/riufs/10165 https://ri.ufs.br/jspui/handle/riufs/25596 Título: Matilda: uma análise do filme a partir das categorias morfológicas proppianas Autor(es): Santo, Milla Taynah Santana do Espírito Abstract: Recalling the traditional family afternoons, a feeling of nostalgia invades the memory of the viewers of the film Matilda. A taste of childhood that, through film analysis based on Proppian morphological categories, this research aims to understand how fairy tales are present in modernity. Thus, the problem lies in determining to what extent the movie can be classified as a modern fairy tale. The research is theoretically based on the work Morphology of the Folktale (1928) by Vladimir Propp, whose morphological categories underpin the analysis of the film Matilda (1996). Situated within the context of Russian Formalism and Structuralism, the study delves into the underlying narrative structures, identifying the functions and spheres of action of the characters that position the film as a possible manifestation of a modern fairy tale. By applying Propp's perspective, the formalist analysis highlights how the narrative paradigms of folktales are replicated and reinterpreted in the film, revealing connections with classical narrative traditions. This approach demonstrates how the cinematic elements of Matilda contribute to constructing a narrative that transcends time and continues to engage contemporary audiences. Thu, 05 Jun 2025 00:00:00 GMT https://ri.ufs.br/jspui/handle/riufs/25596 2025-06-05T00:00:00Z https://ri.ufs.br/jspui/handle/riufs/25317 Título: ¿Qué empiece el matriarcado? Representação e representatividade femininas em La casa de papel (2017) Autor(es): Gama, Milena Costa Silva Abstract: This study proposes a critical analysis of female representation and representativity, focusing on a group of female characters, with particular emphasis on the character Nairóbi (Alba Flores), and on the annunciation of matriarchy in the series La Casa de Papel (2017), drawing on Gender Studies and Cultural Studies. The central objective of the research is to understand which representations and forms of representativity are addressed in the series, as well as to analyze the difficulties faced by female characters in occupying moments of leadership, discussing the advances, continuities, and ruptures portrayed throughout the narrative. In light of the emblematic phrase “¡Que empiece el matriarcado!”, uttered by Nairóbi, the study proposes a critical reflection on the possibilities and limits of representing women in leading roles, questioning whether the narrative genuinely promotes a rupture with the patriarchal model or merely reaffirms it under new guises. To achieve this objective, an integrative literature review was conducted in order to identify academic productions that approach the series from the perspective of Gender Studies and discussions on matriarchy in La Casa de Papel. Following the integrative review, the methodology of film analysis was adopted, which involves examining the audiovisual production from a position that goes beyond that of an ordinary spectator, by decomposing it into its constitutive elements. Based on this approach, it was possible to observe that the series brings to the fore symbolic elements of female empowerment, such as the temporary assumption of leadership by Nairóbi; however, this rise is marked by the almost immediate reestablishment of leadership by a male character. In this way, the persistence of gender stereotypes and the difficulty of consolidating female figures as legitimate leaders in contexts traditionally associated with the male universe become evident. Finally, by considering the series as a cultural artifact that participates in the (re)production of meanings and modes of subjectivation, the study demonstrates that the fictional work ultimately reaffirms gender inequalities still present in contemporary society, particularly regarding the relationship between men and women in leadership positions. In this sense, it is evident that the series holds critical potential to problematize gender hierarchies by presenting complex female narrative arcs rich in meaning. Ultimately, the importance of La Casa de Papel in promoting debates on gender inequality, female representativity, and the construction of subjectivities is acknowledged, since, when widely consumed, such narratives may function as cultural pedagogies that stimulate critical reflection and contribute to the reconfiguration of gender relations within the social imaginary. Tue, 28 Oct 2025 00:00:00 GMT https://ri.ufs.br/jspui/handle/riufs/25317 2025-10-28T00:00:00Z https://ri.ufs.br/jspui/handle/riufs/25292 Título: Ciborgue, estética e identidade: uma análise intersemiótica entre o filme Akira (1988) e o mangá Akira (1982-1990) Autor(es): Resende, Yasmin Lima Abstract: This study will present a thematic analysis of the representation of the cyborg figure as a posthumanist metaphor, analyzing the concepts of identity and subjectivity in cinematic and literary narratives based on the film Akira (1988) and the manga series Akira (1982-1990) by writer, director, and screenwriter Katsuhiro Otomo. It will examine the theoretical foundations of posthumanism and the figure of the cyborg as effective critical resources for rethinking notions of identity and subjectivity in literary and cinematic narratives, thus presenting how literature and cinema represent hybrid or technologically mediated subjects, based on post-humanist theories, in a society that blends technological advances with many aspects of human life, also highlighting humans as hybrid beings, cyborgs. The objects of study in this research are all volumes of the literary manga work Akira (1982-1990) by Katsuhiro Otomo and its film adaptation Akira (1988), also directed by the author. In addition to thematic analysis, a study will also be conducted from an intersemiotic perspective on the translation between the two semiotic systems present in the objects of study, the cinematographic and the literary, in order to observe how adaptation occurs between these different semiotic systems. Some examples of theorists who support this study are Donna Haraway (2009), João Jerónimo Machadinha Maia, on the post-humanist theme and cyborg theories; Claude Dubar (2009) and Norbert Elias (1994) on identity; Gérard Betton (1987), Serguei Eisenstein (2002), Julio Cabrera (2006), Terry Eagleton (2006), Antoine Compagnon (1999), on cinematographic and literary theories; Brian Mcfarlane (1996) and Roland Barthes (1972) as a theoretical framework for intersemiotic translation. Mon, 25 Aug 2025 00:00:00 GMT https://ri.ufs.br/jspui/handle/riufs/25292 2025-08-25T00:00:00Z https://ri.ufs.br/jspui/handle/riufs/24776 Título: Conexões: Yasujiro Ozu e a Nouvelle Vague Taiwanesa 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. Wed, 25 Feb 2026 00:00:00 GMT https://ri.ufs.br/jspui/handle/riufs/24776 2026-02-25T00:00:00Z