THE USE OF FILMIC SOURCES IN SOCIO-HISTORICAL RESEARCH IN THE HEALTHCARE AREA1

critical-reflexive analysis organized in three sections which was based on texts from recognized researchers in the areas of cinema, history, sociology and semiotics. The study critically addresses the main characteristics, challenges and potentialities inherent in the use of film sources.

Results:

elements for the composition of matrices for methodological treatment of these sources were indicated, considering aspects related to description, decomposition, criticism and historical-sociological, content and discourse analysis.

Conclusion:

in the contemporary process of audiovisual visualization of the social world, film analysis is proposed as a potential method for approaching issues inherent to the healthcare field and to the phenomena of care in its evolutionary, historical and cultural processes.

DESCRIPTORS:
Research; Methodology; Health; Sociology; History; History of nursing; Cinema as subject; Cinematographic documentaries

Universidade Federal de Santa Catarina, Programa de Pós Graduação em Enfermagem Campus Universitário Trindade, 88040-970 Florianópolis - Santa Catarina - Brasil, Tel.: (55 48) 3721-4915 / (55 48) 3721-9043 - Florianópolis - SC - Brazil
E-mail: textoecontexto@contato.ufsc.br

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[1] Correspondence: Alexandre Barbosa de Oliveira, Rua Afonso Cavalcanti, 275, 20211-130 - Cidade Nova, Rio de Janeiro, RJ, Brasil. E-mail: alexbaroli@gmail.com

General Aspects
• Analyst's first impressions, reflections and emotions; • Criterion of selection of the film or scenes (by theme of the research, theoretical orientation, film typology or analyzed phenomenon); • Idea, argument or central message;	• Subjects / sub-themes represented (cultural, scientific, political, social, psychological etc.); • Hypotheses about the film; • Contributions from the film to the discussion that one intends to carry out;
Historical-sociological aspects
• Basis (on actual facts or not); • Temporary plot record; • Historical and contextual reference (information potential, coherency of facts; • Dates, events and characters that mark the theme; exclusions of facts / situations); • Temporary hook (historical event of greater scope in the film); • Anachronism / synchronism; qualities and technical deficiencies related to ways of showing the past (fashion / style etc.); • Intertextualities (evaluation of knowledge and influences of producers, internal tensions of the film in the attempt to record or represent historical facts); • Addressing tags (target audience);	• Ideological meaning (position of the film, ideologies with dialogues and contacts, ideological basis of representation of the past); • Cultural powers and patterns that come through the film and that tend to interfere (in) directly in the production of the work (definition of what is at stake in the film, forms as it appears the social organization, hierarchies, institutions, definition of where the emphasis of the film falls and what is sought from the viewer: identification, sympathy, emotion, rejection, reflection, coercion, etc.); • Stereotypes; • Dialogue that the film maintains with the social world (identification of the dialogue, what the film adds to the world, its proposal and questions to the world, etc.).
Content aspects
• Plot; • Meaning / narrative structure (what the film says, who, to whom and how); • Characters (number, types, functions and physical, psychological and ideological characteristics, mode of representation, visions and positions they represent or defend);• Main scenes and of greater impact (how they interconnect with each other);	• Aesthetic elements (conceptions, artistic style, allegories, determination of the level of the symbolic and poetic meaning of the work); • Media coverage (poster and movie advertisement); • Circumstances and conditions of film production (modes as they appear or reveal themselves);
Discursive Aspects
• Vocabulary; predominant language (formal, informal, dominant, usual); intonation; meanings (semantics) of speeches; • Predominant speeches (journalistic, fictional, one discipline); • Narrative voice, narrator identity and way of telling the story (1st / 3rd person, omniscient ambiguous, narrator-character, narrator-observer);	• Nonverbal dimensions of communication (sign language and signs); • Metaphors, specific terms, subliminal messages and implicit and discrete information (between lines, redundancies); • Degree of understanding (easy, difficult); • Available sources and extra filmic data (chronicles, interviews with authors, advertisements, controversies around the work, censorship or support of the State, etc.);