狠狠撸shows by User: Antropologiavisualuff

狠狠撸shows by User: Antropologiavisualuff / http://www.slideshare.net/images/logo.gif 狠狠撸shows by User: Antropologiavisualuff / Tue, 28 Mar 2017 17:30:20 GMT 狠狠撸Share feed for 狠狠撸shows by User: Antropologiavisualuff O esgotado completo https://pt.slideshare.net/slideshow/o-esgotado-completo/73804881 oesgotadocompleto-170328173020
Gilles Deleuze sobre a obra de Samuel Beckett O Esgotado]]>
Gilles Deleuze sobre a obra de Samuel Beckett O Esgotado]]> Tue, 28 Mar 2017 17:30:20 GMT https://pt.slideshare.net/slideshow/o-esgotado-completo/73804881 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) O esgotado completo Antropologiavisualuff Gilles Deleuze sobre a obra de Samuel Beckett O Esgotado <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/oesgotadocompleto-170328173020-thumbnail.jpg?width=120&height=120&fit=bounds" /> Gilles Deleuze sobre a obra de Samuel Beckett O Esgotado

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0 OLHARES EM PROGRESSO OLHARES EM PROCESSO: Uma experiência de vídeo participativo com jovens que habitam um espa?o fronteiri?o https://pt.slideshare.net/slideshow/ana-zanotti/28644006 anazanotti-131126111611-phpapp02
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]]> Tue, 26 Nov 2013 11:16:11 GMT https://pt.slideshare.net/slideshow/ana-zanotti/28644006 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) OLHARES EM PROGRESSO OLHARES EM PROCESSO: Uma experiência de vídeo participativo com jovens que habitam um espa?o fronteiri?o Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/anazanotti-131126111611-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

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0 Chorographies of Memory: Everyday Sites and Practices of Remembrance Work in Post-socialist, EU Accession-era Bucharest /slideshow/chorographies-of-memory-everyday-sites-and-practices-of-remembrance-work-in-postsocialist-eu-accessionera-bucharest/28642286 grossmanthesis2010-131126102422-phpapp02
This thesis explores processes of remembrance work in contemporary Bucharest, while considering memory’s relationships to cognitive, discursive, sensory, material, and visual realms. Through writing and film, it draws attention to memory’s social, political, corporeal, and immaterial trajectories. This thesis posits memory as both entity and activity, continually constituted through physical and mental processes, in material objects and spaces of the imagination. Focusing on the current EU accession-era context, I address how changes in Romania’s global framework intersect with remembrance practices at local, individual levels. By analysing Bucharest residents’ lived experiences, recollections of the past, and anticipations of the future, I seek to unravel complex dynamics of contemporary post-socialist “transition.” I explore the active, contingent ways that personal memories weave in and out of social and ideological rhetoric, often taking on unexpected, idiosyncratic forms. Rather than viewing the boundaries between individual and collective memory and between official and unofficial commemoration as exclusive barriers, I interpret them as sites for engagement and interaction. I follow memory’s presence through objects, discourses, and spaces, and trace its movements between overtly commemorative and inadvertently memorial realms. My attention to arenas where memory is less obvious or visible— ordinary city landscapes, disregarded personal storage spaces, and commonplace interactions around money and food—sets my thesis apart from literature that disregards remembrance work outside explicitly commemorative contexts. My film Lumina amintirii (In the Light of Memory) problematises notions that memory is a straightforwardly visual phenomenon, and that it may be represented literally through visual means. The film incorporates creative shooting and editing techniques to reflect fragmentary, haptic, multi-layered experiences of recollection. Transcending film’s representational capacities, I mobilise its affective, evocative modes of operation, to draw viewers into more emotionally intimate and analytically complex understandings of memory. Central to my work are imaginative experiments I devised to provoke “felt” memories in my collaborators and to enable me to grasp their sensory and corporeal implications. These methodological innovations define my fieldwork, my film-work, and my writing as dynamic, relational processes shaping—rather than merely reflecting—my research.]]>
This thesis explores processes of remembrance work in contemporary Bucharest, while considering memory’s relationships to cognitive, discursive, sensory, material, and visual realms. Through writing and film, it draws attention to memory’s social, political, corporeal, and immaterial trajectories. This thesis posits memory as both entity and activity, continually constituted through physical and mental processes, in material objects and spaces of the imagination. Focusing on the current EU accession-era context, I address how changes in Romania’s global framework intersect with remembrance practices at local, individual levels. By analysing Bucharest residents’ lived experiences, recollections of the past, and anticipations of the future, I seek to unravel complex dynamics of contemporary post-socialist “transition.” I explore the active, contingent ways that personal memories weave in and out of social and ideological rhetoric, often taking on unexpected, idiosyncratic forms. Rather than viewing the boundaries between individual and collective memory and between official and unofficial commemoration as exclusive barriers, I interpret them as sites for engagement and interaction. I follow memory’s presence through objects, discourses, and spaces, and trace its movements between overtly commemorative and inadvertently memorial realms. My attention to arenas where memory is less obvious or visible— ordinary city landscapes, disregarded personal storage spaces, and commonplace interactions around money and food—sets my thesis apart from literature that disregards remembrance work outside explicitly commemorative contexts. My film Lumina amintirii (In the Light of Memory) problematises notions that memory is a straightforwardly visual phenomenon, and that it may be represented literally through visual means. The film incorporates creative shooting and editing techniques to reflect fragmentary, haptic, multi-layered experiences of recollection. Transcending film’s representational capacities, I mobilise its affective, evocative modes of operation, to draw viewers into more emotionally intimate and analytically complex understandings of memory. Central to my work are imaginative experiments I devised to provoke “felt” memories in my collaborators and to enable me to grasp their sensory and corporeal implications. These methodological innovations define my fieldwork, my film-work, and my writing as dynamic, relational processes shaping—rather than merely reflecting—my research.]]> Tue, 26 Nov 2013 10:24:22 GMT /slideshow/chorographies-of-memory-everyday-sites-and-practices-of-remembrance-work-in-postsocialist-eu-accessionera-bucharest/28642286 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Chorographies of Memory: Everyday Sites and Practices of Remembrance Work in Post-socialist, EU Accession-era Bucharest Antropologiavisualuff This thesis explores processes of remembrance work in contemporary Bucharest, while considering memory’s relationships to cognitive, discursive, sensory, material, and visual realms. Through writing and film, it draws attention to memory’s social, political, corporeal, and immaterial trajectories. This thesis posits memory as both entity and activity, continually constituted through physical and mental processes, in material objects and spaces of the imagination. Focusing on the current EU accession-era context, I address how changes in Romania’s global framework intersect with remembrance practices at local, individual levels. By analysing Bucharest residents’ lived experiences, recollections of the past, and anticipations of the future, I seek to unravel complex dynamics of contemporary post-socialist “transition.” I explore the active, contingent ways that personal memories weave in and out of social and ideological rhetoric, often taking on unexpected, idiosyncratic forms. Rather than viewing the boundaries between individual and collective memory and between official and unofficial commemoration as exclusive barriers, I interpret them as sites for engagement and interaction. I follow memory’s presence through objects, discourses, and spaces, and trace its movements between overtly commemorative and inadvertently memorial realms. My attention to arenas where memory is less obvious or visible— ordinary city landscapes, disregarded personal storage spaces, and commonplace interactions around money and food—sets my thesis apart from literature that disregards remembrance work outside explicitly commemorative contexts. My film Lumina amintirii (In the Light of Memory) problematises notions that memory is a straightforwardly visual phenomenon, and that it may be represented literally through visual means. The film incorporates creative shooting and editing techniques to reflect fragmentary, haptic, multi-layered experiences of recollection. Transcending film’s representational capacities, I mobilise its affective, evocative modes of operation, to draw viewers into more emotionally intimate and analytically complex understandings of memory. Central to my work are imaginative experiments I devised to provoke “felt” memories in my collaborators and to enable me to grasp their sensory and corporeal implications. These methodological innovations define my fieldwork, my film-work, and my writing as dynamic, relational processes shaping—rather than merely reflecting—my research. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/grossmanthesis2010-131126102422-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> This thesis explores processes of remembrance work in contemporary Bucharest, while considering memory’s relationships to cognitive, discursive, sensory, material, and visual realms. Through writing and film, it draws attention to memory’s social, political, corporeal, and immaterial trajectories. This thesis posits memory as both entity and activity, continually constituted through physical and mental processes, in material objects and spaces of the imagination. Focusing on the current EU accession-era context, I address how changes in Romania’s global framework intersect with remembrance practices at local, individual levels. By analysing Bucharest residents’ lived experiences, recollections of the past, and anticipations of the future, I seek to unravel complex dynamics of contemporary post-socialist “transition.” I explore the active, contingent ways that personal memories weave in and out of social and ideological rhetoric, often taking on unexpected, idiosyncratic forms. Rather than viewing the boundaries between individual and collective memory and between official and unofficial commemoration as exclusive barriers, I interpret them as sites for engagement and interaction. I follow memory’s presence through objects, discourses, and spaces, and trace its movements between overtly commemorative and inadvertently memorial realms. My attention to arenas where memory is less obvious or visible— ordinary city landscapes, disregarded personal storage spaces, and commonplace interactions around money and food—sets my thesis apart from literature that disregards remembrance work outside explicitly commemorative contexts. My film Lumina amintirii (In the Light of Memory) problematises notions that memory is a straightforwardly visual phenomenon, and that it may be represented literally through visual means. The film incorporates creative shooting and editing techniques to reflect fragmentary, haptic, multi-layered experiences of recollection. Transcending film’s representational capacities, I mobilise its affective, evocative modes of operation, to draw viewers into more emotionally intimate and analytically complex understandings of memory. Central to my work are imaginative experiments I devised to provoke “felt” memories in my collaborators and to enable me to grasp their sensory and corporeal implications. These methodological innovations define my fieldwork, my film-work, and my writing as dynamic, relational processes shaping—rather than merely reflecting—my research.

Chorographies of Memory: Everyday Sites and Practices of Remembrance Work in Post-socialist, EU Accession-era Bucharest from Antropologiavisualuff

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0 Unprivileged Camera Style /slideshow/unprivileged-camera-style/27229194 unprivilegedcamerastyle-131015211400-phpapp02
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]]> Tue, 15 Oct 2013 21:14:00 GMT /slideshow/unprivileged-camera-style/27229194 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Unprivileged Camera Style Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/unprivilegedcamerastyle-131015211400-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

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0 C O N V E R S A C I ? N C O N E L D I R E C T O R G A R Y K I L D E A A P R O P ? S I T O D E L A P R O Y E C C I ? N D E S U P E L ? C U L A K O R I A M ? S L A W https://es.slideshare.net/slideshow/gary-kildea/27228650 garykildea-131015210707-phpapp01
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]]> Tue, 15 Oct 2013 21:07:07 GMT https://es.slideshare.net/slideshow/gary-kildea/27228650 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) C O N V E R S A C I ? N C O N E L D I R E C T O R G A R Y K I L D E A A P R O P ? S I T O D E L A P R O Y E C C I ? N D E S U P E L ? C U L A K O R I A M ? S L A W Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/garykildea-131015210707-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" />

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0 Underviewed celso and cora /slideshow/underviewed-celso-and-cora/27228002 underviewedcelsoandcora-131015205135-phpapp01
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]]> Tue, 15 Oct 2013 20:51:35 GMT /slideshow/underviewed-celso-and-cora/27228002 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Underviewed celso and cora Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/underviewedcelsoandcora-131015205135-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" />

Underviewed celso and cora from Antropologiavisualuff

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0 A tradi??o da antropologia visual em Manchester: notas para um exercício comparativo. https://pt.slideshare.net/slideshow/angela-torresan/26702953 angelatorresan-130930121846-phpapp02
O objetivo desse trabalho é o de apresentar um exemplo de prática de ensino da antropologia visual que possa servir como contraponto para as discuss?es sobre a crescente institucionaliza??o da disciplina nas universidades brasileiras. O Mestrado em Antropologia Visual do Centro Granada de Antropologia Visual (MAVA) da Universidade de Manchester foi criado há mais de 20 anos e ao longo dessas décadas, seus integrantes renovaram suas metodologias de ensino baseados na experiência prática e no convívio diário com as demandas de seus alunos, no mercado de trabalho, e nas progressivas transforma??es tecnológicas. Apesar de diferen?as fundamentais entre as duas situa??es, o uso de mídias audiovisuais na pesquisa levanta quest?es sobre ética e representa??o do conhecimento antropológico que transcendem fronteiras nacionais. A apresenta??o da história da epistemologia do MAVA nesse trabalho se prop?e a provocar um debate que percorre vias múltiplas: o que o crescente interesse e as novas práticas na área da antropologia visual no Brasil podem oferecer ao debate já consolidado na academia brit?nica? Por outro lado, como esse novo interesse pode utilizar as críticas e epistemologias já testadas no decorrer dos anos de prática dentro da Universidade de Manchester? Que troca de conhecimento sobre as diferentes metodologias de pesquisa com a imagem poderia ser feita num fórum comparativo desse gênero? ]]>
O objetivo desse trabalho é o de apresentar um exemplo de prática de ensino da antropologia visual que possa servir como contraponto para as discuss?es sobre a crescente institucionaliza??o da disciplina nas universidades brasileiras. O Mestrado em Antropologia Visual do Centro Granada de Antropologia Visual (MAVA) da Universidade de Manchester foi criado há mais de 20 anos e ao longo dessas décadas, seus integrantes renovaram suas metodologias de ensino baseados na experiência prática e no convívio diário com as demandas de seus alunos, no mercado de trabalho, e nas progressivas transforma??es tecnológicas. Apesar de diferen?as fundamentais entre as duas situa??es, o uso de mídias audiovisuais na pesquisa levanta quest?es sobre ética e representa??o do conhecimento antropológico que transcendem fronteiras nacionais. A apresenta??o da história da epistemologia do MAVA nesse trabalho se prop?e a provocar um debate que percorre vias múltiplas: o que o crescente interesse e as novas práticas na área da antropologia visual no Brasil podem oferecer ao debate já consolidado na academia brit?nica? Por outro lado, como esse novo interesse pode utilizar as críticas e epistemologias já testadas no decorrer dos anos de prática dentro da Universidade de Manchester? Que troca de conhecimento sobre as diferentes metodologias de pesquisa com a imagem poderia ser feita num fórum comparativo desse gênero? ]]> Mon, 30 Sep 2013 12:18:46 GMT https://pt.slideshare.net/slideshow/angela-torresan/26702953 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) A tradi??o da antropologia visual em Manchester: notas para um exercício comparativo. Antropologiavisualuff O objetivo desse trabalho é o de apresentar um exemplo de prática de ensino da antropologia visual que possa servir como contraponto para as discuss?es sobre a crescente institucionaliza??o da disciplina nas universidades brasileiras. O Mestrado em Antropologia Visual do Centro Granada de Antropologia Visual (MAVA) da Universidade de Manchester foi criado há mais de 20 anos e ao longo dessas décadas, seus integrantes renovaram suas metodologias de ensino baseados na experiência prática e no convívio diário com as demandas de seus alunos, no mercado de trabalho, e nas progressivas transforma??es tecnológicas. Apesar de diferen?as fundamentais entre as duas situa??es, o uso de mídias audiovisuais na pesquisa levanta quest?es sobre ética e representa??o do conhecimento antropológico que transcendem fronteiras nacionais. A apresenta??o da história da epistemologia do MAVA nesse trabalho se prop?e a provocar um debate que percorre vias múltiplas: o que o crescente interesse e as novas práticas na área da antropologia visual no Brasil podem oferecer ao debate já consolidado na academia brit?nica? Por outro lado, como esse novo interesse pode utilizar as críticas e epistemologias já testadas no decorrer dos anos de prática dentro da Universidade de Manchester? Que troca de conhecimento sobre as diferentes metodologias de pesquisa com a imagem poderia ser feita num fórum comparativo desse gênero? <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/angelatorresan-130930121846-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> O objetivo desse trabalho é o de apresentar um exemplo de prática de ensino da antropologia visual que possa servir como contraponto para as discuss?es sobre a crescente institucionaliza??o da disciplina nas universidades brasileiras. O Mestrado em Antropologia Visual do Centro Granada de Antropologia Visual (MAVA) da Universidade de Manchester foi criado há mais de 20 anos e ao longo dessas décadas, seus integrantes renovaram suas metodologias de ensino baseados na experiência prática e no convívio diário com as demandas de seus alunos, no mercado de trabalho, e nas progressivas transforma??es tecnológicas. Apesar de diferen?as fundamentais entre as duas situa??es, o uso de mídias audiovisuais na pesquisa levanta quest?es sobre ética e representa??o do conhecimento antropológico que transcendem fronteiras nacionais. A apresenta??o da história da epistemologia do MAVA nesse trabalho se prop?e a provocar um debate que percorre vias múltiplas: o que o crescente interesse e as novas práticas na área da antropologia visual no Brasil podem oferecer ao debate já consolidado na academia brit?nica? Por outro lado, como esse novo interesse pode utilizar as críticas e epistemologias já testadas no decorrer dos anos de prática dentro da Universidade de Manchester? Que troca de conhecimento sobre as diferentes metodologias de pesquisa com a imagem poderia ser feita num fórum comparativo desse gênero?

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0 Folclore e cultura popular https://pt.slideshare.net/slideshow/folclore-e-cultura-popular-20764100/20764100 folcloreeculturapopular-130507212829-phpapp02
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]]> Tue, 07 May 2013 21:28:29 GMT https://pt.slideshare.net/slideshow/folclore-e-cultura-popular-20764100/20764100 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Folclore e cultura popular Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/folcloreeculturapopular-130507212829-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

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0 Som direto 1960 https://pt.slideshare.net/slideshow/som-direto-1960/16225494 somdireto1960-130128160903-phpapp02
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]]> Mon, 28 Jan 2013 16:09:03 GMT https://pt.slideshare.net/slideshow/som-direto-1960/16225494 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Som direto 1960 Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/somdireto1960-130128160903-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

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0 Antropologia visual ii atualizado https://pt.slideshare.net/slideshow/antropologia-visual-ii-atualizado/16225438 antropologiavisualiiatualizado-130128160434-phpapp02
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]]> Mon, 28 Jan 2013 16:04:33 GMT https://pt.slideshare.net/slideshow/antropologia-visual-ii-atualizado/16225438 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Antropologia visual ii atualizado Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/antropologiavisualiiatualizado-130128160434-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

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0 A Voz do Dono - Sérgio Santeiro https://pt.slideshare.net/slideshow/a-voz-do-dono-srgio-santeiro/15525592 avozdodono-santeiro-121206173552-phpapp02
A Voz do Dono - Sérgio Santeiro O conceito de dramaturgia Natural]]>
A Voz do Dono - Sérgio Santeiro O conceito de dramaturgia Natural]]> Thu, 06 Dec 2012 17:35:52 GMT https://pt.slideshare.net/slideshow/a-voz-do-dono-srgio-santeiro/15525592 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) A Voz do Dono - Sérgio Santeiro Antropologiavisualuff A Voz do Dono - Sérgio Santeiro O conceito de dramaturgia Natural <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/avozdodono-santeiro-121206173552-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> A Voz do Dono - Sérgio Santeiro O conceito de dramaturgia Natural

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0 Joel Yamaji - Limite 2007 https://pt.slideshare.net/slideshow/joel-yamaji-limite-2007/15433540 2007-me-yamajijoel-121130155345-phpapp02
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]]> Fri, 30 Nov 2012 15:53:45 GMT https://pt.slideshare.net/slideshow/joel-yamaji-limite-2007/15433540 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Joel Yamaji - Limite 2007 Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/2007-me-yamajijoel-121130155345-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

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0 Limite - Mario Peixoto https://pt.slideshare.net/slideshow/limite-mario-peixoto/15433497 limitehistoria-121130154807-phpapp02
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]]> Fri, 30 Nov 2012 15:48:07 GMT https://pt.slideshare.net/slideshow/limite-mario-peixoto/15433497 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Limite - Mario Peixoto Antropologiavisualuff <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/limitehistoria-121130154807-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" />

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0 Anthropologicas https://pt.slideshare.net/slideshow/anthropologicas/14550225 anthropologicas-121001234437-phpapp01
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No decorrer da luta você vai se descobrindo: Experiências com o vídeo etnográfico na representa??o de processos sociais, por Ana Lúcia Marques Camargo Ferraz]]> Mon, 01 Oct 2012 23:44:35 GMT https://pt.slideshare.net/slideshow/anthropologicas/14550225 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Anthropologicas Antropologiavisualuff No decorrer da luta você vai se descobrindo:? Experiências com o vídeo etnográfico na representa??o de processos sociais, por Ana Lúcia Marques Camargo Ferraz <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/anthropologicas-121001234437-phpapp01-thumbnail.jpg?width=120&height=120&fit=bounds" /> No decorrer da luta você vai se descobrindo:? Experiências com o vídeo etnográfico na representa??o de processos sociais, por Ana Lúcia Marques Camargo Ferraz

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0 O intervalo de Vertov https://pt.slideshare.net/slideshow/o-intervalo-de-vertov/14454485 ointervalodevertov-120925103028-phpapp01
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0 Vertov, Dziga - O ideograma do girassol https://pt.slideshare.net/slideshow/vertov-dziga-o-ideograma-do-girassol/14454133 oideogramadogirassol-vertov-120925102709-phpapp02
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O ideograma do girassol: Dziga Vertov inventa o cinema-verdade por José Umberto Dias, Cineasta baiano.]]> Tue, 25 Sep 2012 10:27:05 GMT https://pt.slideshare.net/slideshow/vertov-dziga-o-ideograma-do-girassol/14454133 Antropologiavisualuff@slideshare.net(Antropologiavisualuff) Vertov, Dziga - O ideograma do girassol Antropologiavisualuff O ideograma do girassol: Dziga Vertov inventa o cinema-verdade por José Umberto Dias, Cineasta baiano. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/oideogramadogirassol-vertov-120925102709-phpapp02-thumbnail.jpg?width=120&height=120&fit=bounds" /> O ideograma do girassol: Dziga Vertov inventa o cinema-verdade por José Umberto Dias, Cineasta baiano.

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