Archive for May, 2012

Cinematographic Education

Cinematographic education and Medias Angelica Piovesan Lvia Melo Barbosa Fabricia Borges Angeline Piovesan INTRODUCTION the use of cinematographic medias in classroom can serve of support the professor to work some concepts, subjects and meanings used in the daily life of its pupils. This article has as objective to argue the construction of the concept of violence in the society from the use of films in classroom. We will use as referencial the theoreticians of Partner-Historical Psychology and the cinematographic language for this construction. We will initiate with the definition of violence for Houaiss (2004), violence means constaint physical or moral exerted on somebody, to compel it to submit it the will of outrem; coercion. Quality of what he is violent. Action or effect to force, to use physical force (against somebody or something) or moral intimidation against (somebody); violent act, cruelty. The violence is part of the history of the man, since the ethnic and religious conquests, wars, conflicts. For some theoreticians of the contemporaneidade the violence is enrolled in all the human beings and from the civilization human being the man started to try to control it to insert itself in the culture.

At the time of modernity the man started to deny the suffering and pain, as consequence of the conflicts occurred from the requirements of the civilization. For Marin (2002), he has the idea of that the temptation in preventing the suffering has contributed for the violent and arbitrary manifestations so gifts in our society, without denying the social political and economic condicionantes of the violence. Modernity was demarcated by corresponding factors to the industrial revolution that had caused changes the daily life of the individual through new technologies and medias. In accordance with Walter Benjamin (1994), the progress has the mark of catastrophes due to deadly exploration of the nature and the perfectioning of war technologies, where ' ' To live became an experience of risco' ' , or ' ' the risk became a skill of viver' ' , in which the excess is always present.

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Bill

May 31st

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Paschoal Segreto Cinema

Summary: The culture constitutes one of the wealth of bigger notabilidade in Brazil. Laws and mechanisms had been created throughout the years to stimulate the development of this dynamic and strategical sector, over all with respect to the cinema, whose trajectory denotes the faced difficulties to evolve. The BNDES is one of the responsible ones for the oferecimento of instruments of financial support to the audiovisual. These instruments, by means of bibliographical research and emphasis in the dialtico method for understanding of the reality, had been investigated in the present article, what it provided a clarification of its action and the reason for which still today, lack of half supplying to the people the due access to the cultural goods. Word-key: BNDES; Brazilian cinematographic politics; financing; laws. 1. INTRODUCTION the cinema (abbreviation of ' ' cinematgrafo' ' , of the Frenchman cinmatographe) little arrived at Brazil after its invention in the subterranean of the Grand Coffee, in Paris, where the Lumire brothers had carried through the first one paid and public exhibition of a series of ten films, with duration of 40 the 50 seconds each. Thus, the first registered exhibition dates here of 1896, in Rio De Janeiro. One year later already existed in the River a fixed room of cinema, ' ' Hall of Paris&#039 New features; ' , of Paschoal Segreto, having the first national films been twirled between the years of 1897-1898.

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Bill

May 27th

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Robert Rodriguez

It is not newness that Robert Rodriguez always approached its production cinematographic in idiosincrtica way. Its first film ' ' El Mariachi' ' for example, Antonio with $7,000 was produced in the streets of its San native and a camera loaned for its better friend. despite nowadays its productions have grown in Sin City scale, Machete and Spy Kids had been productions milhonarias and success of Rodriguez ticket office continues using nothing more sophisticated of what some computers laptop in the edition of its films. ' ' Hollywood always gave the impression that few only has what she is necessary to make filmes' ' trademark says the Texano director with bandana its and a giant smile. ' ' Later that I finished the El Mariachi I I filmed the shortness ' ' The Ten-Draft Film School' ' to show that any one can make a film.

Thanks to laptop, to make cinema if has become not only much more easy, but also much more acessvel.' ' Possibly you go to think that all this enthusiasm of the part of the director he is caused by the one sprouting new software. However, Rodriguez standes out that true ' ' appeal' ' of laptop it is in the price and familiarity with the device. ' ' I know that the easy things are not nothing at the moment, but am certain that if you to search the Internet you easily will find a decent kit to a reasonable price. later that you to buy notebook ideal, it will be available always. Nothing to go the edition houses to cut its film. You can make this in the comfort of its proper room! ' ' Translated for Claude Marcotti for the Mavens agency of London Text of Richard Luck for Dell

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Bill

May 21st

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May 2012
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