thegoodfellas/blogset-br huggingface dataset:
trabalha para mais 7 ministerios dentre eles o Ministerio da Educacao, o Ministerio da cultura e o Ministerio das Minas e Energia. O IBGE - Instituto Brasileiro de Geografia e Estatistica - e um orgao do Governo Federal constituido na forma de fundacao publica responsavel por obter os diversos dados estatisticos do povo brasileiro.Por exemplo o trabalho mais destacado do IBGE, que envolve todo o Pais e ha grande numero de contratacoes para execucao de trabalho e o Censo Demografico.Tania colocou em destaque a importancia do censo demografico e a necessidade de receber o recenseador para a coleta de informacoesForam apresentados aos alunos materias como livros e revistas. Os alunos foram presenteados com mapas politicos do Brasil que foram recebidos com alegria e que com certeza irao servir como material didatico.Agradecemos a visita da Tania e parabenizamos seu esforco por este trabalho nas escolas.
ArteClique aqui--> Arte. Para assistir em tela cheia Saindo um pouco da sala de aula os alunos do 5a Ano tiveram aulas de arte ao livre. Com mais espaco para confeccionar seus trabalhos de artes a alegria e o entusiasmo foi grande levando a uma produtividade maior. Primeiro de setembro e data civica importante no calendario brasileiro. Tratase da abertura da Semana da Patria, que neste ano celebra os 188 anos da soberania do Brasil, fato ocorrido por decisao do Principe Regente Dom Pedro, que ao bradar a frase, Independencia ou Morte, no episodio que se tornou conhecido por Grito do Ipiranga, desatrelou o pais da tutela do Reino de Portugal transformandoo em nacao com autonomia politica e administrativa.A Escola Santa Marcelina Embratel no dia Seis de Setembro abriu as festividades civicas da Semana da Patria. A programacao prosseguiu com as apresentacoes artisticas e recreativas. O patriotismo incentivado com as festividades civicas promovidas empolgou todos os alunos e funcionarios presentes.Clique aqui--> Abertura. Semana da Patria. Para assistir em tela cheia. Destaque para a Turma Nota 10 do mes de junho. O 4a Ano F merece esta homenagem pelo esforco e dedicacao.Para que a turma ganhe como sendo NOTA DEZ do mes devera cumprir algumas regras. ESTAR NO HORARIO PARA A ACOLHIDA E ORACAO;ESTAR UNIFORMIZADO;RESPEITAR OS COLEGAS E QUEM MAIS ESTIVER RESPONSAVEL PELA ATIVIDADE DO DIA;BOM COMPORTAMENTO NA SALA E NO RECREIO (NADA DE BRIGAS)SALAS LIMPAS, SEM PAPEL E APAROS DE LAPIS JOGADOS PELO CHAO;NADA DE ALUNOS PENSANDO DO LADO DE FORA DA SALA OU NA SALA DOS SUPERVISORES OU ORIENTACAO POR MOTIVO DE DESORDEM;BOM DESEMPENHO NAS ATIVIDAS E AVALIACAOENTREGA DE TRABALHOS E TAREFAS NO DIA MARCADO; CUIDADO COM O MATERIAL DOS COLEGAS E DA ESCOLA;Todos os meses sera colocado em destaque no mural a turma Vencedora.EQUIPE DE EDUCACAO INFANTIL e ENSINO FUNDAMENTAL Desenhos feito no Paint realizados pelos alunos no Laboratorio de Informatica em comemoracao a Semana da Patria. Maria de FatimaErick 3 DAna Beatriz e Kenned 4 ano D Nas aulas de arte no 4a Ano Turma "D", a Professora Rozenilda levou levou alegria e entusiamo com um trabalho de arte usando latinhas e outros materias que os alunos trouxeram para confeccionar um porta "treco".O porta "treco" foi confeccionado com alegria pelos alunos do 4a ano "D" e as sugestoes foram varias: guardar moedas, petecas, presentear um amigo, a mamae ou o papai.Alem da aula de arte houve a interdisciplinaridade com Ciencias voltada para reciclagem de materiais.Parabens Professora Rozenilda pelo seu excelente trabalhoParabens alunos do 4a Ano D pela Dedicacao Dia de Lazer proporciona alegria e entretenimento aos alunos da escola Santa MarcelinaDanca do Boi com o Professor Roni Danca dos Anos 60 com a Professora JosianeMostrando que e bom no danceFutebol - Professoras Lucilene, Rosane e SeleideCinemaLeituraEu nao sei o que e isso.Jogos de Tabuleiro Dia dos PaisDizem que o primeiro a comemorar o Dia dos Pais foi um jovem chamado Elmesu, na Babilonia, ha mais de 4.000 anos. Ele teria esculpido em argila um cartao para seu pai. Mas a instituicao de uma data para comemorar esse dia todos
os anos e bem mais recente...Em 1909, a norte-americana Sonora Louise Smart Dodd queria um dia especial para homenagear o pai, William Smart, um veterano da guerra civil que ficou viuvo quando sua esposa teve o sexto bebe e que criou os seis filhos sozinho em uma fazenda no Estado de Washington. Foi olhando para tras, depois de adulta, que Dodd percebeu a forca e generosidade do pai. O primeiro Dia dos Pais foi comemorado em 19 de junho de 1910, em Spokane, Washington. A rosa foi escolhida como a flor oficial do evento. Os pais vivos deviam ser homenageados com rosas vermelhas e os falecidos com flores brancas. Pouco tempo depois, a comemoracao ja havia se espalhado por outras cidades americanas. Em 1972, Richard Nixon proclamou oficialmente o terceiro domingo de junho como Dia dos Pais. No Brasil, o Dia dos Pais ganhou um dia especial a partir de 1953. A iniciativa partiu do jornal O Globo do Rio de Janeiro, que se propos a incentivar a celebracao em familia, baseado nos sentimentos e costumes cristaos. Primeiro, foi instituido o dia 16 de agosto, dia de Sao Joaquim. Mas, como o domingo era mais propicio para as reunioes de familia, a data foi transferida para o segundo domingo de agosto. Em Sao Paulo, a data foi formalmente comemorada pela primeira vez em 1955, pelo grupo Emissoras Unidas, que reunia Folha de S. Paulo, TV Record, Radio Pan-americana e a extinta Radio Sao Paulo. O grupo organizou um grande show no antigo auditorio da TV Record para marcar a data. La, foram premiados Natanael Domingos, o pai mais novo, de 16 anos; Silvio Ferrari, de 96 anos, como o pai mais velho; e Inacio da Silva Costa, de 67 anos, como o campeao em numero de filhos, um total de 31. As gravadoras lancaram quatro discos em homenagem aos pais. O maior sucesso foi o baiao E Sempre Papai, com letra de Miguel Gustavo, interpretada por Jorge Veiga. O Dia dos Pais acabou contagiando todo o territorio brasileiro e ate hoje e comemorado no segundo domingo de agosto.E os alunos do 3a Ano "B" com carinho confecionaram uma lembracinha para homenagear seus pais.A aula foi de muita alegria e participativa. Pois os pais merecem esta lembrancinha feita com carinho, dedicacao e amor.
devia se dar no sentido de uma verticalidade e que essa miseria tao abundantemente mostrada pelos documentarios, se fosse inserida no sistema como um todo, as coisas poderiam mudar de significacao e perspectiva. Acho que ha uma grande despolitizacao da miseria. A miseria e um grande achado da classe media. E um discurso que nao cria nenhum problema. Fica a ilusao de que se esta abordando questoes de miseria ou de sem-teto, que estamos fazendo alguma coisa. Mas nao estamos fazendo nada. Outra reclamacao constante e sobre a pobreza dos roteiros.A importancia do roteiro provem muito da desimportancia da producao. Como nao se consegue produzir, voce faz roteiro, refaz o roteiro, faz curso de roteiro, tem concurso de roteiro... Sem producao e sem toda uma maquina para produzir isso inclusive a dramaturgia nao se tem nada. Nao e que a dramaturgia nao seja importante, ao contrario. Mas, se nao estiver no quadro da producao, nao resolve. E preciso ter em vista um conjunto imenso de parametros. De como filmar, ter o circuito de distribuicao antes de filmar, o filme mirar o publico certo etc. Precisamos criar um sistema de producao em que entra a dramaturgia. Sozinha ela nao resolve. Pode-se fazer o mais fantastico filme, mas isso nao o colocara necessariamente no Cinemark.Hoje voce esta mais voltado para o chamado Cinema Marginal?O meu gosto seria estar na producao e realizacao de filmes politicos. A unica coisa que eu nao gosto dessa expressao e o fato de ela vir marcada por um movimento dos anos 1960, que e o Cinema Marginal, tocado por grandes cineastas como Julio Bressane ou Rogerio Sganzerla, entre outros. Isso e muito ruim para as jovens geracoes. Eles tem que se livrar dessas referencias. Parece simples, mas nao e: o peso dos anos 1960 nos ombros dos jovens cineastas, dos estudantes, essa referencia eterna ao Cinema Novo, ao Cinema Marginal. O bandido da luz vermelha [1968] continua sendo um filme admiravel, a atuacao da Helena Ignez, em A mulher de todos [1969], e espantosa. A questao e como lidar com a tradicao se ela e opressiva, nao estimula a criacao.http://revistapesquisa.fapesp.br/2014/10/09/jean-claude-bernardet-um-critico-contra-estetica-da-miseria/Recently, Fapesp Research Magazine published a long and very revealing interview with one of the most important Brazilian film critics, scholars and screenwriters of all time, Jean Claude Bernadet. Born in Belgium, he came to Sao Paulo at 13 and despite having initiated his activities as a cinephile, screenwriter and movie critic only later - getting in touch according to himself "with Brazil and its problems" -, it didn t take long for him to become a reference when it comes to the seventh art being made in terra brasilis. In this conversation, which BTW has everything to do with our film It s Almost True and the themes inserted in the movie, Bernadet is no good to Brazilian Cinema: he shoots against the constant use of poverty as a theme to documentaries. "Poverty never generates political problem simply because it generates a speech of consensus, besides calling attention to piety, devotion to goodness and lamentation of unhappiness."Since the text
is very long, we should highlight three of the most important questions and answers by Bernadet about this subject, but you can find the link to the whole text right down below and which you ll see is really worth reading. Enjoy.To what do you attribute the not-so-very-happy moment of Brazilian Cinema?One of the easiest explanations is the question of subsidy. They don t tackle some themes. I ve had intense relationships with various documentarians, I ve seen many versions of their work, many editing versions. One of them once told me that enviromental disasters by Petrobras are enourmous. I suggested to him to make a film about it. He answered me back saying that if he did, Brazilian Cinema would vanish. We know Petrobras is one strong sponsorship of cinema. One of the questions that at a certain level people attribute to documentaries is their horizontality. Poverty horizontality never creates political problems, because it generates a consesus speech, besides calling attention to piety, goodness and the lamentation of unhappiness. I ve already suggested many times that the evolution of cinema should be attached to a verticality and that this poverty so much shown by documentaries, if it was inserted in the system as a whole, things could change focus and meaning. I think there s a great depolitization of poverty. Poverty is a great find of the middle class. It s a speech that does not create any problem whatsoever. You get the illusion you re talking about poverty matters or the homeless matter, that we re doing something But we re not doing anything.Another complaint comes from the deficiency of screenplays.The importance of the script comes from the not-so-importance of production per se. Since you can t produce, you write a script, you rewrite the script, you attend a script course, there s lots of script contests... Without a production system - including dramaturgy - you have nothing. It s not that dramaturgy is not important, on the contrary. But if it s not on the production board of the system it doesn t mean anything. It s necessary to have a whole bunch of parameters. Of how to shoot a picture, of having the distribution circuit before shooting the picture, of having the right target audience, etc. We need to create a production system that dramaturgy is inserted. Dramaturgy itself does not resolve the problems. You can make the most fantastic film, but that doesn t necessarily mean it will open on Cinemark. Are you leaned towards the Underground Cinema today?My taste would be that of the production and making of political films. The only thing I don t particularly like about this expression is that it comes attached to this 1960s movement, which is Underground Cinema, made by great filmmakers like Julio Bressane and Rogerio Sganzerla, among many others. This is very bad for new generations. They have to get rid of those references. It seems simple, but it isn t: the weight of the 1960s on the shoulders of these young filmmakers, students, this eternal Cinema Novo
reference, the Underground Cinema. The Red Light Bandit (1968) is a remarkable film, Helena Ignez s acting in The Woman of All (1969) is awesome. The question is how to deal with tradition - if tradition is oppressive it does not stimulate creation.http://revistapesquisa.fapesp.br/2014/10/09/jean-claude-bernardet-um-critico-contra-estetica-da-miseria/FacebookTwitter
International Short Film Festival. The films are not that black andwhite, you have to set the puzzles in your head. It s up to the viewer to formhis or her own story interpretation. This way, the films respect the public sintelligence, continues Mariana. This obviously does not mean a secret tosuccess or an easier embrace by the audience. People have forgotten how tothink they re too much tied to what they see on TV, on advertising, theready-made formulas, they want to leave the theater having understoodeverything, knowing exactly who was the hero and who was the villan. If theyare challenged into thinking a little bit more, if they have to make an effortto understand something, or even deal with ambiguity (which is something theyare mostly incapable of), and they can t, they feel stupid, so the immediatereaction is to reject what they ve just seen.Scene from "Assis & Aleteia"Assis & Aleteia, the first short by Mendes, has obviously not escaped this. Shot on16mm, on locations in Sao Paulo and Pouso Alegre (a Minas Gerais town whichlended the filmmakers its small train station and locomotive as main sets), thestory is about a young man who casually meets a young girl (whose face we neversee) in a train wagon, becoming obsessed by her navel, the film provoked allkinds of different effects at festivals since its first screening at theGramado Latin Film Festival in 2002 until boos, shy applause and disconcertingreactions from the public in general. But it is a film where the strange andthe beauty are familiarly connected by desire, says Francisco Costabile, a filmmakerand a friend of Mendes s. The scenes of the two hands with the trees s limbson the background, or even the fluttering white sheet seen from a distance areexamples of this. The feeling of weirdnness that the film arouses is verystrong, it even surpasses the actor s performances, it is a completelyrealistic situation of being inside a train wagon in a context we don t want tobelieve is true, but actually a dream. Written in 1995, by Mendes and his cousin, psychologist Christiano Lima,Assis & Aleteia is inspired bythe short film Un Chien Andalou(1928), directed by Luis Bunuel and Salvador Dali, and considered the startingpoint of Surrealism in the cinema. The story follows the starting point to thatof Bunuel and Dali s instead of an eye slashed by a razor, we had a navelcut by a knife, says Christiano. And also there s a strange coincidenceregarding circular forms, the navel, the train wheels, the story s narrative,which starts and ends at the same spot. An obsession, btw, of Bunuel s owncinema, whose constancy had almost always been on situations and themes thatwould repeat themselves. We were so much in love with Bunuel and Dali, bytheir work method, that we decided to copy them, continues Christiano. Weagreed that, if we saw something interesting, on the street, anywhere, onewould immediately tell the other about it, and we would start our film fromthat idea. And I happened to see: on the bus, on my way to College, I couldn tstop looking at
a guy staring at a girl s navel.Actor Fernando Seth as AssisThe result was a short that was really short in length, only 5minutes, which today Mendes himself considers more like a learning lesson, afilm whose intention was better than the final result, but which, according to him, was like truly film schoolexperience. It was all produced and financed with his own resources, having hadFAAP (The Armando Alvares Penteado College), in Sao Paulo, as its mainsupporter, the camera that was lended from friends, the film stock which wasout of date for at least six months, among other difficulties, but which wereall overcome by a young director who, until today, has not yet abandonedexercising provocation and artistic independence. But this is all very costly, says Christiano Lima. The film was rejectedby festival audiences, many people came to ask us what the hell we wanted tosay with that, and there were people who said it didn t look like a Brazilianfilm it was too European, too hermetic, too much influenced by foreigncinema. And this, according to director Mendes, in a format whereexperimental things are all what it is about, where you can dare do things differentlymore than on a feature film, which has rules and commercial obligationsinherent to their own sale and distribution. We even had some peoplecomplaining about the script, saying we didn t even write a script, becausethere were no dialogue in it. I think it s sometimes scaring the intellectuallevel of some of the people in this medium.Djin Sganzerla in "Amarar"But the director continued faithful to himself, to his principles andhis aesthetic on his next move, Amarar(international title Wave) (2008), considered, by Mendeshimself, his best film so far a much more mature work, under all points ofview, the one that Mendes saw himself turned into a real film director,according to his own words. Starting from the length itself: 23 minutes, whenthe normal duration for this kind of film reaches 15 minutes in length. And afilm which also demands a tad more attention and perception on the part of theviewer. And where he also learned how not commit the same mistakes from theprevious film, but instead be opened to the possibility of commiting new ones. Theidea came to Mendes after telling his friend and cowriter Andre Campos Mesquitaabout an image that wouldn t leave his head: the one of a young woman, lost ona deserted island, with a giant cracked mirror by her side.Actually this image has a much more remote origin, says Andre. Once,he told me, Emanuel went to Masp (The SaoPaulo Art Museum) and was very much impressed by a picture (from naturalistic painter Johannees Thermin)which showed a sad woman with a cracked vase by her side. That was the core toour film, continues Andre. After writing many versions of the script one byeach month, totalling six months, in a very fun and rich workshop process, butalso full of difficulties to fix the plot, to the point that we startedrefering to the script as that unpleasant subject, says Andre the duo made acomplex film, with many entrances and layers for
interpretation. A love story involving the character played by Djin Sganzerla, Noemi but also a tale of amature woman s memories (played by Helena Ignez, mother of Djin s, ex-wife ofRogerio Sganzerla), or simply the narrative of a little girl with anextraordinary imagination, or even with one of a hell scaring childhood trauma(the girl was played by newcomer Bruna da Mata).Bruna da Mata in "Amarar"Shot in 2005, on 35mm film stock, also under an independent strategy, ittook two and a half years to be completed. Opening to film festivals in 2008, Amarar divided opinions. Even thoughshort films are a format for experimenting among young filmmakers, theexperimentation here goes far beyond the fragmented montage responsible for theconcrete slogan of the film: a labyrinthof memories. It is much more expressed in the game play with the spectator;on the ludic of its cinematography; on the actors s performances; on the subtleyet terrible subtext of its narrative the story of a rape (and not exactlythe one shown in the film) ; on the very effective use of music (whichutilizes three pieces by Estonian composer Arvo Part) and the weird soundtrack;all of which create an atmosphere of dream (nightmare?) rarely seen or felt inshort films, analyses film critic Roberto Goncalves Junior. For some moments, Amararseems to take you into the world of dreams. Then it places you on a perspectiveof the future, only to reveal itself as a vision of the past, of memories. And,finally, of trauma. The richness of the story told as static animation (which is the beginning of the film),which zooms in and out, pontuated by a haunting musical score, is lost out of aconclusion in the narrative using symbols of an absent life. If, for someinstants, the film signs give you some attempt of richness, reinforced by thepresence of Djin Sganzerla and the historic Helena Ignez, this is lost in thedirector s attempt in finding a solution for that idyllic escape of thecharacter. The return to the static animation in the end only shows off thatthe proposal sadly misses the point, according to Thiago Macedo Correia.Djin Sganzerla in "Amarar"Amarar is enigmatic, apoetic film, of a feminine soul, says Mariana Souto, a journalist alsocovering the Belo Horizonte International Short Film Festival. But the fact isit is so misterious, it communicates rather more aesthetic beauty thanemotional, even though its musical score denounces that the target was also toemo; sometimes the low key notes are reverberated disproportionally, since whatwe see on the screen fulfills your eyes, though it does not move you consideringthis was the intention. To some, this seems not to have been the result as confirmed in the rejectionof the film by the official committee of the Clermont-Ferrand InternationalShort Film Festival, in France, when one of its organizers, and the oneresponsible for the selection of the films, not only promptly rejected it butalso prevented the other members to see it, claiming that the film made herremember a tragic happening of her youth that she prefered to forget forever.After a series of brief email exchanges by Mendes and another member, theattempts were useless, and the