{"id":{"repo_id":"brazil-uerj","oai_identifier":"oai:pantheon.ufrj.br:11422/3836"},"canonical_url":"https://search.dev.ndltd.org/etd/brazil-uerj/oai:pantheon.ufrj.br:11422/3836","repository":{"repo_id":"brazil-uerj","name":"Brazil UERJ","base_url":"https://pantheon.ufrj.br/oai/request"},"display":{"title":"As cem cadeiras: comédia fílmica como fonte historiográfica","abstract":"A Hundred Chairs: Film Comedy as Historiographycal Source. The uses and limits of historic approaches essayed on nine film adaptations of a sovietic novel, Dvienatsat Stuliev de Ilf e Petrov, 1927: Keep Your Seats, Please!, Dreizehn Stühle, EI Sillón Y Ia Granduquesa, It's in the Bag!, As Treze Cadeiras, Las Doce Sillas, Twelve Chairs, 12+1 e Dvienatsat Stuliev. Image and the paradoxes it represents to the post-modern historian. The role of the observer in image thought. Image as source and comedy as discourse of the nation. The concept of context and its pervasive circumscription of audiovisual evidence. The centrality of visual pleasure on historical film representation of the past. Allegorical and metonymical approaches of the audiovisual source. The decay of the filmmakers autority and his nationality as film exegesis parameters. The instability of teleological approach of film plot and its stress on film ends. Film as political history document and formalist art history tradition. Film comedy tension: the gag and narrative; possible historiographycal approaches. Film genre as reading.","abstract_html":"A Hundred Chairs: Film Comedy as Historiographycal Source. The uses and limits of historic approaches essayed on nine film adaptations of a sovietic novel, Dvienatsat Stuliev de Ilf e Petrov, 1927: Keep Your Seats, Please!, Dreizehn Stühle, EI Sillón Y Ia Granduquesa, It's in the Bag!, As Treze Cadeiras, Las Doce Sillas, Twelve Chairs, 12+1 e Dvienatsat Stuliev. Image and the paradoxes it represents to the post-modern historian. The role of the observer in image thought. Image as source and comedy as discourse of the nation. The concept of context and its pervasive circumscription of audiovisual evidence. The centrality of visual pleasure on historical film representation of the past. Allegorical and metonymical approaches of the audiovisual source. The decay of the filmmakers autority and his nationality as film exegesis parameters. The instability of teleological approach of film plot and its stress on film ends. Film as political history document and formalist art history tradition. Film comedy tension: the gag and narrative; possible historiographycal approaches. Film genre as reading.","abstract_has_math":false,"creators":["Machado, Hilda"],"institution":"Universidade Federal do Rio de Janeiro","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Guimarães, Manoel Luiz Lima Salgado"],"committee_chairs":[],"committee_members":[],"year":2001,"date_issued":"2001","date_published":"2001","updated_at":"2026-07-24T01:16:10Z","subjects":["Historiografia","Comédias cinematográficas","Cinema"],"languages":["por"],"rights":["Acesso Aberto"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11422/3836","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Guimarães, Manoel Luiz Lima Salgado"]},{"key":"dc:creator","label":"Author","values":["Machado, Hilda"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2018-04-10T00:27:35Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2026-05-16T03:05:26Z"]},{"key":"dc:date.issued","label":"Date","values":["2001"]},{"key":"dc:publisher","label":"Institution","values":["Universidade Federal do Rio de Janeiro"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Instituto de História"]},{"key":"dc:type","label":"Dc Type","values":["Tese"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Historiografia","Comédias cinematográficas","Cinema"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["por"]},{"key":"dc:rights","label":"Dc Rights","values":["Acesso Aberto"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11422/3836"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["A Hundred Chairs: Film Comedy as Historiographycal Source. The uses and limits of historic approaches essayed on nine film adaptations of a sovietic novel, Dvienatsat Stuliev de Ilf e Petrov, 1927: Keep Your Seats, Please!, Dreizehn Stühle, EI Sillón Y Ia Granduquesa, It's in the Bag!, As Treze Cadeiras, Las Doce Sillas, Twelve Chairs, 12+1 e Dvienatsat Stuliev. Image and the paradoxes it represents to the post-modern historian. The role of the observer in image thought. Image as source and comedy as discourse of the nation. The concept of context and its pervasive circumscription of audiovisual evidence. The centrality of visual pleasure on historical film representation of the past. Allegorical and metonymical approaches of the audiovisual source. The decay of the filmmakers autority and his nationality as film exegesis parameters. The instability of teleological approach of film plot and its stress on film ends. Film as political history document and formalist art history tradition. Film comedy tension: the gag and narrative; possible historiographycal approaches. Film genre as reading."]},{"key":"dc:title","label":"Title","values":["As cem cadeiras: comédia fílmica como fonte historiográfica"]}]}],"canonical_facts":{"dc:contributor.advisor":["Guimarães, Manoel Luiz Lima Salgado"],"dc:creator":["Machado, Hilda"],"dc:date.accessioned":["2018-04-10T00:27:35Z"],"dc:date.available":["2026-05-16T03:05:26Z"],"dc:date.issued":["2001"],"dc:description.abstract":["A Hundred Chairs: Film Comedy as Historiographycal Source. The uses and limits of historic approaches essayed on nine film adaptations of a sovietic novel, Dvienatsat Stuliev de Ilf e Petrov, 1927: Keep Your Seats, Please!, Dreizehn Stühle, EI Sillón Y Ia Granduquesa, It's in the Bag!, As Treze Cadeiras, Las Doce Sillas, Twelve Chairs, 12+1 e Dvienatsat Stuliev. Image and the paradoxes it represents to the post-modern historian. The role of the observer in image thought. 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