Enter the email address you signed up with and we’ll email you a reset link. We argue that this operation is possible due to the flexibility of uses inherent to technical equipment Simondon , plasticity that permits local practices and foreign technologies to unfold each other in multiples usages and arrangements. This is the kind of production that interests in this talk. From this overview we search to investigate how each kind of content implies specific reception modes, according to demographic variables age group, gender , spatial occupied space, public disposition and technological used equipment, screen size variables. Universidade Federal Fluminense in Portuguese. Receitas e Despesas in Portuguese.
This is the kind of production that interests in this talk. From Wikipedia, the free encyclopedia. Taking as starting point an audiovisual documentation process of an initiation ritual of adolescents taken in in a Xavante village, indigenous community located at the Brazilian Central Plateau, this article proposes to discuss the notions of image and identity having as frame for analysis the concepts of performance, narrative and montage. We argue that this operation is possible due to the flexibility of uses inherent to technical equipment Simondon , plasticity that permits local practices and foreign technologies to unfold each other in multiples usages and arrangements. Click here to sign up. Other axis for analysis are the images produced from this ritual, so that descriptions of two short-length videos produced in the ritual will be necessary. From a brief recovery of authors who fall into the same theoretical lineage as Crary, such as Michel Foucault, Gilles Deleuze and Gilbert Simondon, we propose to pay attention to how such return of the monocular paradigm of the darkroom can be explained on the basis of technical specificities of such devices, whose dynamics are articulated in parallel with those of scientific discourse analyzed in the book.
Clnema edited video replicates the narrative of the ritual, overlapping it. From these programs, new departments and colleges were established. In ascertaining this parallelism the article proceeds to investigate the device that guarantees effectiveness to such experiences.
Log In Sign Up. From Wikipedia, the free encyclopedia. The Xavante people are an indigenous group in Brazil who have stable relations with the Brazilian society for almost seven decades now. This investigative procedure aims to highlight specific forms that audiovisual reception takes in non-Western cultural contexts. Our aim are the This page was last edited on 18 Februaryat It proposes to build as object of analisys the processes of film reception on indigenous context, taking the Dependencies and other territories.
There are three big campuses in the city: We argue that these recorded and digitally reproduced traditional performances are a form of facing the issue posed by the arrival of these new technologies that poses serious threats to their traditional customs, specially against the newer generations. Cadernos de Arte e Antropologia. Enter the email address you signed up with and we’ll email you a reset link. Federal University of the State of Rio de Janeiro.
Outline Index Category Portal. This review proposes to revisit the analytic path of the art historian Jonathan Crary in the book Techniques of the Observer, following its approach to optical devices from the darkroom to the photographic camera.
His master’s research came from the work in this group, and had as object the process of documenting a Xavante ritual of initiation into adult life of adolescents, which took place between March and October Not every movie in the Xavante villages are meant to be seen by non-indigenous audience. This task is performed by following the arrangements chain where the video is incorporated, emphasizing the moment of reception.
Retrieved from ” https: Since then, they developed complex political relations with the non-indigenous, being the only ethnic Remember me on this computer. The article discusses the moment when some of the Xavante groups became aware of the possibility to use images to their favour.
Assembléia dos estudantes de cinema (necine)
From a brief recovery of authors who fall into the same theoretical lineage as Crary, such as Michel Kff, Gilles Deleuze and Gilbert Simondon, we propose to pay attention to how jacs return of the monocular paradigm of the darkroom can be explained on the basis of technical specificities of such devices, whose dynamics are articulated in parallel with those of scientific discourse analyzed in the book. From an ethnographic research material, it is proposed to draw a partial panorama of this practice taking into account the local specifics in its configuration.
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Research cjnema a more formal role, and extension programs had different functions, with the main aim to offer services to the community. These movies have as preferential ufg ritual performances, are spoken only in the xavante language and are made for local circulation and exhibition mainly. Receitas e Despesas in Portuguese. It will be, therefore, fundamental to highlight the importance of this specific ritual, called Danhono, in the organization of kinship and collective life as a whole.
Samuel Leal | UFF – Universidade Federal Fluminense –
This is due to the familiarity they got with this kind of technology, possible by numerous projects and partnerships with NGOs, universities and government projects. Today, these remain the three pillars of the university. Universidade Federal Fluminense in Portuguese.
They have also one of the most notorious indigenous video production, with movies and filmmakers participating in festivals around the world. Ritual life is a central element in the social structure of this group, and therefore constitutes one of the basis for analysis.
We argue that this operation is possible due to the flexibility of uses inherent cunema technical equipment Simondonplasticity that permits local practices and foreign technologies to unfold each other in multiples usages and arrangements. Our aim are the transformations of what he calls the observing subject, especially the discontinuity that marks the advent of photography as iace reterritorialization of the classic observer paradigm.
The formal aspect is determinant because it implies a specific way of dealing with the cultural signs objectified in images. In recovering the interests of young people to elders wisdom, they reconnect generations and effective their traditional memory in a new level.
Fluminense Federal University
Ritual and film narratives: Dapodo – Imagem Xavante more. In the s, UFF expanded and began to offer new programs in campuses in different towns in regional areas if Rio de Janeiro state. This is the kind of production that interests in this talk.