Projecionistas de cinema na transição película / digital: diálogos entre um futuro desapegado e um passado que resiste

• Ano de defesa: 2018
• Autor(a) principal: Belintani, Júlia Ramiro
• Orientador(a): Spink, Mary Jane Paris
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Psicologia: Psicologia Social
• Departamento: Faculdade de Ciências Humanas e da Saúde
• País: Brasil
• Palavras-chave em Português: Inovações tecnológicas; Cinema; Filme cinematográfico; Cinematografia digital
• Palavras-chave em Inglês: Technological innovations; Cinema; Motion picture film; Digital cinematography
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::PSICOLOGIA::PSICOLOGIA SOCIAL
• Link de acesso: https://tede2.pucsp.br/handle/handle/21689

The research has emerged from the concern about technologies that fascinate people due to their eases and possibilities and that also frighten because of the overlooked practices and knowledge that preceded them. Does the novelty replace what comes previously or simply overlap it? What does one gain and what does one lose in this process? Among several examples, I focused on a technological transition and a professional category that symbolized this lack of communication between the new and what precedes it; they mirrored each other. The film-to-digital transition in the cinema was also the projectionist - IT technician transition. What other transitions exist within this one? From film to digital. From the 35mm projector to the digital projector. From the projectionist to the IT technician. From the analog to the digital. From the photochemical film to the computer. From the touch to the virtual. From the physics and chemistry to the mathematics. The research has aimed to understand the film-to-digital transition from the point of view of the cinema projectionist. For that, semi-structured interviews were conducted with three professionals in the city of São Paulo, with similar years of experience and involvement with cinema, similar belonging and affection feelings. In addition, the narratives of two other professionals who worked in the 1950s have been added. These interviews were transcribed in full, sequentially organized in order to identify the themes and later analyzed through thematic maps. The results of the analysis were presented in a narrative form, composed by the direct inscription of the interviews, historical passages about the cinema and testimonies of other professionals of the area, as well as of intellectuals who dialogue with the research proposal. These different points of view have been structured in a narrative form in this dissertation, as a conversation. The research has been anchored in the constructivist approach of discursive practices and production of meanings in everyday life. The analysis pointed out to the intrinsic relationship between death and life in technology and in professional relationships, with emphasis on the importance of registration and of cultural memory