Modernidade e transição no cinema americano entre 1894 e 1915
Autor(a) principal: | |
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Data de Publicação: | 2011 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/4342 |
Resumo: | This research seeks to understand the primordial 20 years of the cinema in the United States in which concerns about the changes in the way mode of films were produced and exhibited, and also those presented in the cinematographic industry. The period analyzed here corresponds to the years between 1895 and 1915; and it is subdivided between Early Cinema or Cinema of Attractions (1895-1907) and Period of Transition (1907-1915). During the Early Cinema, or Cinema of Attractions, the filmic language established did not seek necessarily to narration and linearization. It aimed at images exhibition, attracting the audience attention rather than telling stories. In this phase, it is notability resources such as trucage and close-up, but camera resources, edition, production and performance were not directed to a narrative story. The industry, in this first period, was not completely developed. Among the enterpriser alternated magician, non-professional scientists and even big companies, as Edison Co. The cinema was not the main attraction and was showed with vaudeville numbers. From 1907, cinema became the main attraction and earned its own space to its projection, called nickelodeons. Its low cost attracted a big public and the enterpriser realized the potential of film to generate profit. There were efforts to nationalize at most the production of film and monopolize its means of production. The efforts resulted on a Trust that dominated the system of production and exhibition in the period of transition in the United States, the Motion Picture Patents Company. The films also obtained new characteristics: influenced by foreign films that brought more narrative stories, new camera movements, and various planes utilization, the American producers were impelled to adopt those characteristics and improve them until reach a cinema with a more narrative and linear language. By decoupage of films which constitute the corpus, we realize that some stylistic resources form the Early Cinema were maintained on the period of transition and even after, in the classic cinema, although their function were transformed. We give prominence to crucial social, scientific and technologic changes in the American society between 1895 and 1915 that collaborated to the great success of cinema. Hence, we sought to make explicit the filmic and industrial characteristics of the Early Movies and the Cinema of Transition, connecting each of them, and compose this period historically, in order to analyze how those periods of cinema were able to configure themselves inside their historical age |
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Motta, Leda Tenorio dahttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4235638U5Araujo, Camila Biasotto de2016-04-26T18:11:15Z2011-11-102011-10-27Araujo, Camila Biasotto de. Modernity and Transition in American cinema between 1894 e 1915. 2011. 134 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2011.https://tede2.pucsp.br/handle/handle/4342This research seeks to understand the primordial 20 years of the cinema in the United States in which concerns about the changes in the way mode of films were produced and exhibited, and also those presented in the cinematographic industry. The period analyzed here corresponds to the years between 1895 and 1915; and it is subdivided between Early Cinema or Cinema of Attractions (1895-1907) and Period of Transition (1907-1915). During the Early Cinema, or Cinema of Attractions, the filmic language established did not seek necessarily to narration and linearization. It aimed at images exhibition, attracting the audience attention rather than telling stories. In this phase, it is notability resources such as trucage and close-up, but camera resources, edition, production and performance were not directed to a narrative story. The industry, in this first period, was not completely developed. Among the enterpriser alternated magician, non-professional scientists and even big companies, as Edison Co. The cinema was not the main attraction and was showed with vaudeville numbers. From 1907, cinema became the main attraction and earned its own space to its projection, called nickelodeons. Its low cost attracted a big public and the enterpriser realized the potential of film to generate profit. There were efforts to nationalize at most the production of film and monopolize its means of production. The efforts resulted on a Trust that dominated the system of production and exhibition in the period of transition in the United States, the Motion Picture Patents Company. The films also obtained new characteristics: influenced by foreign films that brought more narrative stories, new camera movements, and various planes utilization, the American producers were impelled to adopt those characteristics and improve them until reach a cinema with a more narrative and linear language. By decoupage of films which constitute the corpus, we realize that some stylistic resources form the Early Cinema were maintained on the period of transition and even after, in the classic cinema, although their function were transformed. We give prominence to crucial social, scientific and technologic changes in the American society between 1895 and 1915 that collaborated to the great success of cinema. Hence, we sought to make explicit the filmic and industrial characteristics of the Early Movies and the Cinema of Transition, connecting each of them, and compose this period historically, in order to analyze how those periods of cinema were able to configure themselves inside their historical ageEsta pesquisa busca compreender os 20 anos iniciais do cinema nos Estados Unidos no que diz respeito às mudanças na forma de produzir e exibir os filmes, e também àquelas que se fizeram presentes na indústria cinematográfica. O período aqui abordado corresponde aos anos entre 1895 e 1915; ele é subdividido em Primeiro Cinema ou Cinema de Atrações (1895 a 1907) e Período de Transição (1907 a 1915). Durante o primeiro cinema, ou cinema de atrações, a linguagem fílmica estabelecida não visava necessariamente à narração e à linearização. Sua intenção não era tanto contar histórias, e focava-se mais em exibir imagens filmadas, atraindo a atenção do público. Nesta fase, há o destaque para recursos como a trucagem e close-up, mas os recursos de câmera, a edição, a produção e a atuação não eram dirigidos para uma história narrativa. A indústria, neste primeiro período, ainda se desenvolvia. Entre os empreendedores variavam desde mágicos e amadores da tecnologia e da ciência até grandes empresas, com a Cia. Edison. O cinema não era atração principal e era apresentava junto aos números de vaudevile. A partir de 1907, o cinema se tornou a atração principal, recebendo um espaço próprio para sua exibição, os chamados nickelodeons. Seu baixo custo atraiu um grande público e os empreendedores perceberam o potencial que o cinema tinha em gerar lucros. Houve um esforço para nacionalizar ao máximo a produção de filmes e monopolizar seus meios de produção. Estes esforços resultaram na formação de um truste que dominou o sistema de produção e exibição no período de transição nos Estados Unidos, a Motion Picture Patents Company. Os filmes também adquiriram novas características: com a influência do cinema estrangeiro que traziam histórias mais narrativas, novos movimentos de câmera e utilização de diversos planos, os produtores norte-americanos se viram impelidos a adotar estas características e aperfeiçoá-las até atingir um cinema com linguagem mais narrativa e linear. Por meio da decupagem dos filmes que compõem o corpus de análise, percebeu-se que alguns recursos estilísticos do primeiro cinema foram mantidos no período de transição e mesmo posteriormente, no cinema clássico, embora sua função fosse alterada. Importante ressaltar também que no período abordado, ou seja, entre 1895 e 1915 também ocorreram mudanças sociais, científicas e tecnológicas cruciais na sociedade norte-americana que colaboraram para o grande sucesso do cinema. Desta forma, buscou-se nesta pesquisa explicitar as características fílmicas e industriais do primeiro cinema e do cinema de transição, correlacionando-as, e contextualizar este período historicamente, a fim de analisar em que medida estes períodos do cinema puderam se configurar dentro de sua época históricaapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/12584/Camila%20Biasotto%20de%20Araujo.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBRComunicaçãoPrimeiro cinemaCinema de atraçõesCinema de transiçãoModernidadeEarly cinemaCinema of attractionsTransitional cinemaModernityCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOModernidade e transição no cinema americano entre 1894 e 1915Modernity and Transition in American cinema between 1894 e 1915info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTCamila Biasotto de Araujo.pdf.txtCamila Biasotto de Araujo.pdf.txtExtracted texttext/plain273358https://repositorio.pucsp.br/xmlui/bitstream/handle/4342/3/Camila%20Biasotto%20de%20Araujo.pdf.txtb04d4f7e169a5b5170641908d9a55c70MD53ORIGINALCamila Biasotto de Araujo.pdfapplication/pdf2578346https://repositorio.pucsp.br/xmlui/bitstream/handle/4342/1/Camila%20Biasotto%20de%20Araujo.pdf1892c4ba79a9209026115422acd54cb6MD51THUMBNAILCamila Biasotto de Araujo.pdf.jpgCamila Biasotto de Araujo.pdf.jpgGenerated Thumbnailimage/jpeg1943https://repositorio.pucsp.br/xmlui/bitstream/handle/4342/2/Camila%20Biasotto%20de%20Araujo.pdf.jpgcc73c4c239a4c332d642ba1e7c7a9fb2MD52handle/43422022-04-28 19:02:45.251oai:repositorio.pucsp.br:handle/4342Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-28T22:02:45Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
Modernidade e transição no cinema americano entre 1894 e 1915 |
dc.title.alternative.eng.fl_str_mv |
Modernity and Transition in American cinema between 1894 e 1915 |
title |
Modernidade e transição no cinema americano entre 1894 e 1915 |
spellingShingle |
Modernidade e transição no cinema americano entre 1894 e 1915 Araujo, Camila Biasotto de Primeiro cinema Cinema de atrações Cinema de transição Modernidade Early cinema Cinema of attractions Transitional cinema Modernity CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Modernidade e transição no cinema americano entre 1894 e 1915 |
title_full |
Modernidade e transição no cinema americano entre 1894 e 1915 |
title_fullStr |
Modernidade e transição no cinema americano entre 1894 e 1915 |
title_full_unstemmed |
Modernidade e transição no cinema americano entre 1894 e 1915 |
title_sort |
Modernidade e transição no cinema americano entre 1894 e 1915 |
author |
Araujo, Camila Biasotto de |
author_facet |
Araujo, Camila Biasotto de |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Motta, Leda Tenorio da |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4235638U5 |
dc.contributor.author.fl_str_mv |
Araujo, Camila Biasotto de |
contributor_str_mv |
Motta, Leda Tenorio da |
dc.subject.por.fl_str_mv |
Primeiro cinema Cinema de atrações Cinema de transição Modernidade |
topic |
Primeiro cinema Cinema de atrações Cinema de transição Modernidade Early cinema Cinema of attractions Transitional cinema Modernity CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Early cinema Cinema of attractions Transitional cinema Modernity |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
This research seeks to understand the primordial 20 years of the cinema in the United States in which concerns about the changes in the way mode of films were produced and exhibited, and also those presented in the cinematographic industry. The period analyzed here corresponds to the years between 1895 and 1915; and it is subdivided between Early Cinema or Cinema of Attractions (1895-1907) and Period of Transition (1907-1915). During the Early Cinema, or Cinema of Attractions, the filmic language established did not seek necessarily to narration and linearization. It aimed at images exhibition, attracting the audience attention rather than telling stories. In this phase, it is notability resources such as trucage and close-up, but camera resources, edition, production and performance were not directed to a narrative story. The industry, in this first period, was not completely developed. Among the enterpriser alternated magician, non-professional scientists and even big companies, as Edison Co. The cinema was not the main attraction and was showed with vaudeville numbers. From 1907, cinema became the main attraction and earned its own space to its projection, called nickelodeons. Its low cost attracted a big public and the enterpriser realized the potential of film to generate profit. There were efforts to nationalize at most the production of film and monopolize its means of production. The efforts resulted on a Trust that dominated the system of production and exhibition in the period of transition in the United States, the Motion Picture Patents Company. The films also obtained new characteristics: influenced by foreign films that brought more narrative stories, new camera movements, and various planes utilization, the American producers were impelled to adopt those characteristics and improve them until reach a cinema with a more narrative and linear language. By decoupage of films which constitute the corpus, we realize that some stylistic resources form the Early Cinema were maintained on the period of transition and even after, in the classic cinema, although their function were transformed. We give prominence to crucial social, scientific and technologic changes in the American society between 1895 and 1915 that collaborated to the great success of cinema. Hence, we sought to make explicit the filmic and industrial characteristics of the Early Movies and the Cinema of Transition, connecting each of them, and compose this period historically, in order to analyze how those periods of cinema were able to configure themselves inside their historical age |
publishDate |
2011 |
dc.date.available.fl_str_mv |
2011-11-10 |
dc.date.issued.fl_str_mv |
2011-10-27 |
dc.date.accessioned.fl_str_mv |
2016-04-26T18:11:15Z |
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info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/masterThesis |
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masterThesis |
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publishedVersion |
dc.identifier.citation.fl_str_mv |
Araujo, Camila Biasotto de. Modernity and Transition in American cinema between 1894 e 1915. 2011. 134 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2011. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/4342 |
identifier_str_mv |
Araujo, Camila Biasotto de. Modernity and Transition in American cinema between 1894 e 1915. 2011. 134 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2011. |
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https://tede2.pucsp.br/handle/handle/4342 |
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Pontifícia Universidade Católica de São Paulo |
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Programa de Estudos Pós-Graduados em Comunicação e Semiótica |
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PUC-SP |
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BR |
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Comunicação |
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Pontifícia Universidade Católica de São Paulo |
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