As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro

Detalhes bibliográficos
Autor(a) principal: Barbuto, Adriano Soriano
Data de Publicação: 2010
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Repositório Institucional da UFSCAR
Texto Completo: https://repositorio.ufscar.br/handle/ufscar/5588
Resumo: The motion picture cameras have changed through the years. However, they have kept their main design which has not changed during this period. One of the goals of this text is to understand how that design was created, and also the changes it has suffered without losing its essence. Besides that, this text aims to understand how different cameras connected with the Brazilian cinema production in the fifties and sixties. A change on camera s use is noticeable in that period in Brazil. There is a change in appreciation from the more traditional cameras linked to the studio system to the European cameras developed in the thirties and forties, which were lighter and more portable. This issue coincides with a specific characteristic in Brazilian cinema at that time, when people started to believe in the independent cinema production as an answer to the studio system, which was the main thought until then. In order to show this entire context, it has been chosen the Vera Cruz and Cinema Novo, their movies and shootings, to confront and connect them to camera models and their relation to the mode of production
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spelling Barbuto, Adriano SorianoSá Neto, Arthur Autran Franco dehttp://lattes.cnpq.br/5055550097454248http://lattes.cnpq.br/872221190920053360a041eb-a575-4147-a14b-84f8fa894df42016-06-02T20:23:11Z2010-10-062016-06-02T20:23:11Z2010-08-02BARBUTO, Adriano Soriano. As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro. 2010. 197 f. Dissertação (Mestrado em Ciências Humanas) - Universidade Federal de São Carlos, São Carlos, 2010.https://repositorio.ufscar.br/handle/ufscar/5588The motion picture cameras have changed through the years. However, they have kept their main design which has not changed during this period. One of the goals of this text is to understand how that design was created, and also the changes it has suffered without losing its essence. Besides that, this text aims to understand how different cameras connected with the Brazilian cinema production in the fifties and sixties. A change on camera s use is noticeable in that period in Brazil. There is a change in appreciation from the more traditional cameras linked to the studio system to the European cameras developed in the thirties and forties, which were lighter and more portable. This issue coincides with a specific characteristic in Brazilian cinema at that time, when people started to believe in the independent cinema production as an answer to the studio system, which was the main thought until then. In order to show this entire context, it has been chosen the Vera Cruz and Cinema Novo, their movies and shootings, to confront and connect them to camera models and their relation to the mode of productionAs câmeras cinematográficas passaram por mudanças ao longo dos anos. Porém, manteve um design que se perpetuou durante este período. Um dos objetivos do presente trabalho é entender como este design foi criado, e as variações pelas quais ele passou, sem perder a sua essência. Em paralelo a isso, entender como estas diferentes câmeras travaram relação com a produção do cinema brasileiro dos anos 1950 e 1960. É nesta época que se observa no país uma troca de postura em relação às câmeras. Passa-se de uma valorização das câmeras mais tradicionais, ligadas ao sistema de estúdio, à valorização das câmeras européias criadas no anos 1930 e 1940, que eram mais leves e portáteis. Isso coincide com um momento específico do cinema brasileiro, aquele em que se passa a crer numa solução de cinema independente como resposta ao cinema de estúdio, que era o pensamento majoritário até então. Para ilustrar todo este contexto, escolhemos a Vera Cruz e o Cinema Novo, seus filmes e filmagens, para relacioná-los e confrontá-los em relação aos tipos de câmeras e sua relação ao modo de produção.application/pdfporUniversidade Federal de São CarlosPrograma de Pós-Graduação em Imagem e Som - PPGISUFSCarBRCinemaCinema brasileiroCâmeras cinematográficasCinematografiaCompanhia Cinematográfica Vera CruzCinema NovoModo de produçãoBrazilian cinemaMotion picture camerasCinematographyMode of productionVera CruzCinema NovoLINGUISTICA, LETRAS E ARTES::ARTES::CINEMAAs câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiroinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis-1-19ff01ed0-dc13-4aac-9758-bdc08021a20finfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFSCARinstname:Universidade Federal de São Carlos (UFSCAR)instacron:UFSCARORIGINAL3236.pdfapplication/pdf10667295https://repositorio.ufscar.br/bitstream/ufscar/5588/1/3236.pdf4577e702fe0c4a20dd47793beb779becMD51THUMBNAIL3236.pdf.jpg3236.pdf.jpgIM Thumbnailimage/jpeg6479https://repositorio.ufscar.br/bitstream/ufscar/5588/2/3236.pdf.jpgf243056d7c706e8f910f712afe87ec0fMD52ufscar/55882023-09-18 18:31:07.566oai:repositorio.ufscar.br:ufscar/5588Repositório InstitucionalPUBhttps://repositorio.ufscar.br/oai/requestopendoar:43222023-09-18T18:31:07Repositório Institucional da UFSCAR - Universidade Federal de São Carlos (UFSCAR)false
dc.title.por.fl_str_mv As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro
title As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro
spellingShingle As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro
Barbuto, Adriano Soriano
Cinema
Cinema brasileiro
Câmeras cinematográficas
Cinematografia
Companhia Cinematográfica Vera Cruz
Cinema Novo
Modo de produção
Brazilian cinema
Motion picture cameras
Cinematography
Mode of production
Vera Cruz
Cinema Novo
LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA
title_short As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro
title_full As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro
title_fullStr As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro
title_full_unstemmed As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro
title_sort As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro
author Barbuto, Adriano Soriano
author_facet Barbuto, Adriano Soriano
author_role author
dc.contributor.authorlattes.por.fl_str_mv http://lattes.cnpq.br/8722211909200533
dc.contributor.author.fl_str_mv Barbuto, Adriano Soriano
dc.contributor.advisor1.fl_str_mv Sá Neto, Arthur Autran Franco de
dc.contributor.advisor1Lattes.fl_str_mv http://lattes.cnpq.br/5055550097454248
dc.contributor.authorID.fl_str_mv 60a041eb-a575-4147-a14b-84f8fa894df4
contributor_str_mv Sá Neto, Arthur Autran Franco de
dc.subject.por.fl_str_mv Cinema
Cinema brasileiro
Câmeras cinematográficas
Cinematografia
Companhia Cinematográfica Vera Cruz
Cinema Novo
Modo de produção
topic Cinema
Cinema brasileiro
Câmeras cinematográficas
Cinematografia
Companhia Cinematográfica Vera Cruz
Cinema Novo
Modo de produção
Brazilian cinema
Motion picture cameras
Cinematography
Mode of production
Vera Cruz
Cinema Novo
LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA
dc.subject.eng.fl_str_mv Brazilian cinema
Motion picture cameras
Cinematography
Mode of production
Vera Cruz
Cinema Novo
dc.subject.cnpq.fl_str_mv LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA
description The motion picture cameras have changed through the years. However, they have kept their main design which has not changed during this period. One of the goals of this text is to understand how that design was created, and also the changes it has suffered without losing its essence. Besides that, this text aims to understand how different cameras connected with the Brazilian cinema production in the fifties and sixties. A change on camera s use is noticeable in that period in Brazil. There is a change in appreciation from the more traditional cameras linked to the studio system to the European cameras developed in the thirties and forties, which were lighter and more portable. This issue coincides with a specific characteristic in Brazilian cinema at that time, when people started to believe in the independent cinema production as an answer to the studio system, which was the main thought until then. In order to show this entire context, it has been chosen the Vera Cruz and Cinema Novo, their movies and shootings, to confront and connect them to camera models and their relation to the mode of production
publishDate 2010
dc.date.available.fl_str_mv 2010-10-06
2016-06-02T20:23:11Z
dc.date.issued.fl_str_mv 2010-08-02
dc.date.accessioned.fl_str_mv 2016-06-02T20:23:11Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/masterThesis
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dc.identifier.citation.fl_str_mv BARBUTO, Adriano Soriano. As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro. 2010. 197 f. Dissertação (Mestrado em Ciências Humanas) - Universidade Federal de São Carlos, São Carlos, 2010.
dc.identifier.uri.fl_str_mv https://repositorio.ufscar.br/handle/ufscar/5588
identifier_str_mv BARBUTO, Adriano Soriano. As câmeras cinematográficas nos anos 1950/1960 e o cinema brasileiro. 2010. 197 f. Dissertação (Mestrado em Ciências Humanas) - Universidade Federal de São Carlos, São Carlos, 2010.
url https://repositorio.ufscar.br/handle/ufscar/5588
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dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
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dc.publisher.initials.fl_str_mv UFSCar
dc.publisher.country.fl_str_mv BR
publisher.none.fl_str_mv Universidade Federal de São Carlos
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