http://repositorio.ufc.br/handle/riufc/19685 2026-08-07T21:34:27Z 2026-08-07T21:34:27Z Vieira, Ana Paula Veras Camurça http://repositorio.ufc.br/handle/riufc/87353 2026-07-31T15:56:21Z 2026-01-01T00:00:00Z

Título: A cidade emaranhada: imagens ressonantes no cinema cearense contemporâneo Autor(es): Vieira, Ana Paula Veras Camurça Abstract: This research investigates how contemporary cinema from Ceará, produced in Fortaleza, operates temporal and spatial displacements that challenge colonial-capitalist chronopolitics and reorganize the conditions of existence in the city. The film corpus comprises Tremor Iê (2019), Boca de Loba (2018), Cartuchos de Super Nintendo em Anéis de Saturno (2018), and Vando Vulgo Vedita (2017), works produced between 2015 and 2019 that inventively explore the relationships between body, city, time, and resistance. It is argued that these films intervene in the city by producing displacements in hegemonic ways of organizing time, memory, and the presence of bodies in urban space. To engage with these operations, the thesis is structured around three interdependent movements: Layers of the Map, which dismantles dominant temporal regimes and positions the films as chronopolitical agents; Resonant Images, which traces recurring figures—night, monument, fugitivity, and the collective (bando)—as fields of meaning that tension the materiality of the city; and Notebooks of Conversation, which gathers dialogues with filmmakers, expanding the space of resonance and unfolding from creative processes. The writing embraces discontinuity, fragmentation, and leaps between planes, composing a partial and situated map of resonant images inspired by Ursula K. Le Guin’s “carrier bag theory.” In dialogue with authors such as Rasheedah Phillips, Denise Ferreira da Silva, and Donna Haraway, the study proposes a speculative approach to thinking about the city of Fortaleza, its tensions, contradictions, and modes of invention. Tipo: Tese

2026-01-01T00:00:00Z Matos, Carolina Tavares http://repositorio.ufc.br/handle/riufc/87256 2026-07-24T18:01:53Z 2026-01-01T00:00:00Z

Título: Viver é fugir da morte: Amor e fratura no cinema de Karim Aïnouz Autor(es): Matos, Carolina Tavares Tipo: Dissertação

2026-01-01T00:00:00Z Leite, Fabienne Maia http://repositorio.ufc.br/handle/riufc/87144 2026-07-15T18:03:27Z 2026-01-01T00:00:00Z

Título: Fantasmas entre nós: assombrações do neoliberalismo na trilogia "Fantasmas" de Christian Petzold Autor(es): Leite, Fabienne Maia Abstract: In this research, we seek to investigate how Christian Petzold’s “Ghosts” trilogy, comprising the films The State I Am In (2000), Ghosts (2005), and Yella (2007), challenges the idea of conventional haunting and treats phantasmagoria as a political category, viewed through the lens of the politicaleconomic transformations that German society, and the world, have faced from the late 20th century to the present day. Therefore, the research analyzes how the apparitions in the trilogy are articulated, and how the ghosts generated by these economic transformations designate the set of values, behaviors, and principles that sustain and legitimize the logic of neoliberal society. As a methodological approach, we utilize film analysis to investig ate how the ghost apparitions occur throughout the German director's three feature films. Distancing itself from a purely formal description, t he study adopts a relational perspective that articulates mise-en-scène, spaces, and the characters' forms of subjectivation. Through the analysis of film frames, the work also investigates how the director's aesthetic elements place the dynamics of neoliberalism and social hauntings under tension. To achieve this, the text establishes a dialogue primarily with Mark Fisher’s (2025) concept of Capitalist Realism, Dardot and Laval’s (2016) Neo-liberal subjectivation, Andreas Huyssen’s (2004) reflections on memory, forgetting, and urban space, and, finally, Jaimey Fisher’s (2013) formal studies regarding director Christian Petzold. Tipo: Dissertação

2026-01-01T00:00:00Z Santos, Francisca Rebecca Mendes http://repositorio.ufc.br/handle/riufc/87086 2026-07-13T10:27:31Z 2026-01-01T00:00:00Z

Título: Aleluia, Gretchen (1976): o figurino militar fascista como operador da atmosfera autoritária Autor(es): Santos, Francisca Rebecca Mendes Abstract: This dissertation examines the representations of fascist, Nazi, and Integralist military attire in the film Aleluia, Gretchen (1976), directed by Sylvio Back, understanding costume as a semiotic, performative, and atmospheric device that structures identities and produces experiences of authoritarianism within the filmic narrative. The investigation articulates three methodological axes: the film analysis approach of Aumont and Marie (2004), Lotman's (1996) Semiotics of Culture, and Gil's (2012) theory of filmic atmosphere, in conjunction with Goffman's (2009) concept of performance. The corpus comprises the scenes in which military attire is present across the film's four temporal blocks, accounting for approximately 19.72% of total screen time, an expressive proportion that reveals costume not as a secondary element, but as a constant and recurring presence throughout the work. The results indicate that the uniforms operate simultaneously as condensers of cultural memory, devices of ideological performance, and operators of filmic atmosphere, producing a cumulative experience of oppression that traverses the narrative's different temporalities. It is concluded that costume constitutes a structuring element of the film's cinematic language, rendering sensible the persistence and capacity for reactualization of authoritarian ideologies across historical time. Tipo: Dissertação

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