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You searched for subject:(Waltz with Bashir). Showing records 1 – 3 of 3 total matches.

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1. Maria Ines Dieuzeide Santos Souza. A memória assombrada : Um estudo da autorrepresentação no documentário animado Valsa com Bashir.

Degree: 2012, Universidade Federal de São Carlos

Esta dissertação tem como objetivo discutir processos de autorrepresentação em documentários animados, a partir da análise do filme Valsa com Bashir (Ari Folman, 2008). Com a análise deste longa-metragem, busca-se compreender modos de articulação entre o campo do documentário e o da animação, aproveitando elementos de ambos enquanto possibilidade de autorrepresentação em filmes que se remetem ao mundo histórico compartilhado. Para tanto, desenvolveu-se uma reflexão acerca do estabelecimento de diferentes perspectivas do campo do documentário nos estudos teóricos e as maneiras disponíveis à animação para criar representações. Além disso, dialoga-se com as várias abordagens históricas e conceituais acerca do documentário animado, que ganham corpo mais expressivo nos últimos quinze anos. Por fim, desenvolve-se uma leitura crítica das análises de Bill Nichols (1994) sobre os documentários performáticos e das considerações de Michael Renov (2004) acerca de documentários que lidam com o autobiográfico, para compreender a animação como uma forma do realizador se colocar na história e estabelecer uma continuidade com o passado, tecendo relações entre imagens animadas e elementos documentais que proporcionam outros sentidos aos relatos.

This work aims to discuss processes of self-representation in animated documentaries, from the analysis of the film Waltz with Bashir (Ari Folman, 2008). With this analysis, it seeks to understand modes of articulation between the field of documentary and animation, using elements of both as a possibility of self-representation in films that are related to the shared historic world. For this purpose, it develops a reflection on the establishment of different perspectives in the field of documentary studies and the ways available for animation to create representations. In addition, it dialogues with the various historical and conceptual approaches about the animated documentary, developed significantly over the past fifteen years. Finally, it develops a critical analysis of what Bill Nichols (1994) calls performative documentary and the considerations of Michael Renov (2004) about documentaries that deal with the autobiographical, to understand the animation as a way to put the director in history and establish a continuity with the past, weaving relationships between elements of documentary and animated images that provide other senses to the reported.

Advisors/Committee Members: Alessandro Constantino Gamo.

Subjects/Keywords: Animação (Cinematografia); Autobiografia; Valsa com Bashir; CINEMA; Animated documentary; Self-representation; Autobiographical documentary; Waltz with Bashir; Documentário (Cinema)

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Souza, M. I. D. S. (2012). A memória assombrada : Um estudo da autorrepresentação no documentário animado Valsa com Bashir. (Thesis). Universidade Federal de São Carlos. Retrieved from http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=5590

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Souza, Maria Ines Dieuzeide Santos. “A memória assombrada : Um estudo da autorrepresentação no documentário animado Valsa com Bashir.” 2012. Thesis, Universidade Federal de São Carlos. Accessed March 05, 2021. http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=5590.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Souza, Maria Ines Dieuzeide Santos. “A memória assombrada : Um estudo da autorrepresentação no documentário animado Valsa com Bashir.” 2012. Web. 05 Mar 2021.

Vancouver:

Souza MIDS. A memória assombrada : Um estudo da autorrepresentação no documentário animado Valsa com Bashir. [Internet] [Thesis]. Universidade Federal de São Carlos; 2012. [cited 2021 Mar 05]. Available from: http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=5590.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Souza MIDS. A memória assombrada : Um estudo da autorrepresentação no documentário animado Valsa com Bashir. [Thesis]. Universidade Federal de São Carlos; 2012. Available from: http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=5590

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation


University of Vienna

2. Poloczek, Marie. Die Subjektdarstellung in der Globalisierung.

Degree: 2010, University of Vienna

Die Arbeit, Die Subjektdarstellung in der Globalisierung – eine Analyse anhand autofiktionaler Comics und Animationsfilme, versucht darzustellen, wie das momentane Subjektbild der globalisierten Gesellschaft durch diese speziellen Medien ermittelt wird. In der heutigen Zeit, in der sogenannten Globalisierung, ist die Position des Individuums eine besonders wichtige, da jeder einzelne Mensch die Folgen der Veränderung dieser Welt trägt. Ausgehend von dieser Feststellung werden in der Arbeit autofiktionale Comics und zwei Animationsfilme analysiert. Die Auswahl der Werke, Persepolis von Marjane Satrapi, Carnet des Voyage von Craig Thompson, Shenzhen und Pyongyang von Guy Delisle, sowie die Animationsfilme Persepolis von Marjane Satrapi und Vincent Paronnaud und Waltz with Bashir von Ari Folman, begründet sich darin, dass sie sich mit dem Individuum verschiedenster Herkunft und Kulturkreise auseinandersetzen. Die Gemeinsamkeit liegt hauptsächlich in der autobiographischen Erzählweise, aber auch in der Wahl der Perspektive. Meist wird aus westlicher Sicht abgebildet, wodurch in allen Arbeiten eine ‚Gut-Böse’-Positionierung, die die Vormachtstellung der westlichen Welt in verschiedenem Grade betont. Eine Sonderstellung nimmt hierbei der Film von Ari Folman ein, da er aus der Sicht eines israelischen Filmemachers und Subjekt erzählt. Zugrunde gelegt wird die Theorie von Andreas Reckwitz, der sich in Das hybride Subjekt (2006) mit der Subjektkultur der Moderne beschäftigte. Ebenso wird Hintergrundwissen zum Phänomen der Globalisierung gegeben, um darzustellen, in welcher Situation sich das Subjekt aufhält, beziehungsweise aufgehalten hat. In weiteren Teilkapiteln wird die Entwicklung von Comics und nimationsfilmen im Allgemeinen zusammengefasst. Im zweiten Teil der Arbeit findet sich die Analyse, die an diskursanalytische Ideen Michel Foucaults angelehnt ist, da sich auf diese Art und Weise eine Aufgliederung in verschiedene Ebenen ergibt. Bei der Bearbeitung der autofiktionalen Comics und Animationsfilme ergab sich die Aufteilung in den familiären Diskurs, den Diskurs der Macht, den Religionsdiskurs, sowie den Diskurs der Fremde, in welchen sich das jeweilige Subjekt bewegt. Abschließend wird das ermittelte Subjektbild dargestellt, sowie ein Ausblick auf ein anderes zu analysierend mögliches Medium gegeben – dem Dokumentarfilm.

This paper, The Portrayal of the Subject in the Globalisation – an Analysis on the basis of Autofictional Comic and Animated Films, tries to show how these specific media communicate the contemporary picture of subjects in a globalised society. Nowadays, in the so-called time of Globalisation, the position of the subject is a very important one, because the outcome of the changed world effects every single person. Based on this fact, the autofictional comics and animated films are analyzed. The selection of the works Persepolis by Marjane Satrapi, Carnet de Voyage by Craig Thompson, Shenzhen and Pyongyang by Guy Delisle, as well as the movies Persepolis by Marjane Satrapi and Vincent…

Subjects/Keywords: 24.99 Theater, Film, Musik: Sonstiges; autofiktionale Comics / Animationsfilme / Persepolis / Marjane Satrapi / Vincent Paronnaud / Carnet de Voyage / Craig Thompson / Pyongyang / Shenzhen / Guy Delisle / Waltz with Bashir / Ari Folman; autofictional Comics / animated Films / Persepolis / Marjane Satrapi / Vincent Paronnaud / Carnet de Voyage / Craig Thompson / Pyongyang / Shenzhen / Guy Delisle / Waltz with Bashir / Ari Folman

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Poloczek, M. (2010). Die Subjektdarstellung in der Globalisierung. (Thesis). University of Vienna. Retrieved from http://othes.univie.ac.at/9077/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Poloczek, Marie. “Die Subjektdarstellung in der Globalisierung.” 2010. Thesis, University of Vienna. Accessed March 05, 2021. http://othes.univie.ac.at/9077/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Poloczek, Marie. “Die Subjektdarstellung in der Globalisierung.” 2010. Web. 05 Mar 2021.

Vancouver:

Poloczek M. Die Subjektdarstellung in der Globalisierung. [Internet] [Thesis]. University of Vienna; 2010. [cited 2021 Mar 05]. Available from: http://othes.univie.ac.at/9077/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Poloczek M. Die Subjektdarstellung in der Globalisierung. [Thesis]. University of Vienna; 2010. Available from: http://othes.univie.ac.at/9077/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation


University of Stirling

3. Mai, Nadin. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.

Degree: PhD, 2015, University of Stirling

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.

Subjects/Keywords: film; Slow Cinema; cinema; Lav Diaz; Philippines; history; memory; trauma; PTSD; concentrationary; terror; extrajudicial killings; torture; rape; post-trauma; Death in the Land of Encantos; Melancholia; Florentina Hubaldo CTE; Trauma Cinema; Janet Walker; Roger Luckhurst; Susannah Radstone; aesthetics; duration; absence; latency period; instantaneity; flashbacks; anxiety; Cathy Caruth; Raya Morag; failed witnessing; Trauma Studies; Philippine Cinema; trauma therapy; sound; silence; framing; ghosts; haunting; Béla Tarr; Tsai Ming-liang; Apichatpong Weerasethakul; Ari Folman; Rithy Panh; Waltz with Bashir; time; long-take; colonialism; oppression; psyche; poverty; Martial Law; l’univers concentrationnaire; hamlets; speed; off-screen space; temporality; power; psychological warfare; mental paralysis; the disappeared; chronic trauma; backstory wounds; repetition; circularity; post-traumatic cinema; death; depletion; ethics; atrocity; painting; landscape painting; Rückenfigur; Chinese painting; accousmêtre; accousmatic; mourning; grief; Slow cinema; Diaz, Lav, 1958- Filmmaker; Motion picture producers and directors Philippines

Record DetailsSimilar RecordsGoogle PlusoneFacebookTwitterCiteULikeMendeleyreddit

APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Mai, N. (2015). The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. (Doctoral Dissertation). University of Stirling. Retrieved from http://hdl.handle.net/1893/22990

Chicago Manual of Style (16th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Doctoral Dissertation, University of Stirling. Accessed March 05, 2021. http://hdl.handle.net/1893/22990.

MLA Handbook (7th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Web. 05 Mar 2021.

Vancouver:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Internet] [Doctoral dissertation]. University of Stirling; 2015. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/1893/22990.

Council of Science Editors:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Doctoral Dissertation]. University of Stirling; 2015. Available from: http://hdl.handle.net/1893/22990

.