Dissertationen zum Thema „Critique cinématographique – Italie – 1970-“
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Darchino, Stefano. „« Cinema demenziale » : catégorisation et réception critique italienne du cinéma comique américain des années 1970 aux années 1980“. Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080068.
Der volle Inhalt der QuelleThis research focuses on the use of the category cinema demenziale (literally “demented cinema”) by Italian reviewers with respect to four American films, initially qualified as “comedies” for their release in theaters in the late 1970s and early 1980s: Animal House (1978), 1941 (1979), Airplane! (1980), and The Blues Brothers (1980). This new category was influenced by the turbulent political context in Italy at the time, with critics interpreting these films as subversive and dissident. Roberto Silvestri, the principal inventor of cinema demenziale, defined it as a left-wing cinema. A methodology applying Janet Staiger’s “historical materialist approach to reception studies” casts light on the cultural and political background to the construction and emergence of this category in the press. Particularly important in this account are the movement of 1977 (the most intense wave of protests and social movements in Italy since 1968-1969), the publication of the Italian edition of Mikhail Bakhtin’s book on François Rabelais, and the critical reception of the four feature films. We also retrace the development of cinema demenziale from the 1980s to the present era, where the term is still well-known and in common use; for instance, we examine in detail various Italian publications’ proposals to extend the grouping to include a larger corpus of films. This first doctoral dissertation on cinema demenziale explores movies and critical texts that have thus far received little scholarly attention
Hallé, Esther. „Antonio Pietrangeli, critique et création (1940-1965). : pensées du réalisme cinématographique“. Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC042.
Der volle Inhalt der QuelleAntonio Pietrangeli (1919-1968) has been a prominent figure in Italian cinema, as a critic throughout the 1940’s and as a director from 1953. As an actor in the critical debates during the elaboration of neorealism, Pietrangeli places his first film (Empty Eyes, 1953) under the auspices of a neorealist ending season. This style will evolve afterwards towards a realism conceived under the concepts of loss and incompleteness, which is particularly visible in the light of his concern to the condition of women. The present study proposes the first french-language monography about the work of Pietrangeli, with the ambition to establish a dialogue between his critical and filmic work. The hypothesis of a Pietrangelian conception of cinematographic realism, by revealing specific relations between critics and creation, established a dialogue where the realistic question appears as a conceptual tool, which enlightens Pietrangeli's contribution to the elaboration of a cinematic modernism. The first three chapters trace back a "realistic struggle", which is fully part of Italian neorealism’s historiography, and is characterized by its moral specificity. It announces an epistemological transition, meaning that the conception of cinema moves away from an idealistic tradition in favor of existential perspectives, embodied in a filmography where reality, becoming questionable, indicates a skeptical phenomenology, which constitutes the core of the fourth and fifth chapters
Henry, Christel. „"A cidade das flores " : pour une réception culturelle au Portugal du cinéma néoréaliste italien comme métaphore possible d'une absence“. Caen, 2002. http://www.theses.fr/2002CAEN1350.
Der volle Inhalt der QuelleGheller, Enrico. „La politique et les auteurs : le néoréalisme italien au prisme de la cinéphilie française (1946-1956)“. Thesis, Normandie, 2021. http://www.theses.fr/2021NORMC005.
Der volle Inhalt der QuellePost-war Italian cinema has its rightful place in history under the label of "neorealism". It is a pantheonisation that is still difficult to question today, which often schematises the image of this cinema in an arbitrary manner. One of the peculiarities of this current is its ease of adaptation beyond the Alps: indeed, this film movement has sparked off a very virulent debate in France, which has seen the participation of all strata of the intelligentsia. The neo-realist canon was consolidated on the basis of a handful of films andthanks to the critical work of a few committed intellectuals, as well as the popular press. The editors of specialised magazines and daily newspapers have the privilege of a primacy of gaze on transalpine cinematic novelties: most often outside the traditional distribution channels, within the many film clubs operating in the Parisian context, critics, journalists and writers discover a cinema that they soon call the "Italian school". These observations force us to question several stereotypes about this cinema: shooting in the street, nonprofessional actors and current affairs subjects do not prevent post-war Italian cinema from following in the footsteps of what was, after all, a traditional production. These conclusions make it necessary today to return to the critical debates of the immediate post-war period with a new and impartial look, in order to deepen the complexity of the process of reception of neorealism
Oggero, Elisa. „Une cinématographie et une scénographie d’avant-garde : Carlo Levi et le cinéma (1930-1950)“. Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1036.
Der volle Inhalt der QuelleIn recent years there have been many in depth studies and publications on Carlo Levi's literary and artistic works. However, a section of his work, in particular his work in set design, script writing and film making in general, has been largely neglected by critics. Carlo Levi's association with the film industry started at the beginning of the nineteen thirties and extended to the beginning of the nineteen fifties. During these years, Carlo Levi had the opportunity to work not only with famous artists like Enrico Paulucci, Italo Cremona and Carlo Mollino, with whom he designed the film sets of Patatrac and Pietro Micca, but also with men of letters of the stature of Mario Soldati, Rocco Scotellaro and Alberto Moravia. The aim of this study is to trace Carlo Levi's career in cinema using information found in archived documentation of various types and from various sources: from sets, synopses and story-boards but also in previously unpublished commercial contracts. The films that he produced cover all genres: from comedy to drama and from documentaries to musicals. Our work makes a hereto unknown section of Carlo Levi's work accessible, thereby contributing to the rediscovery of a major 20th century author
Cavaleri, Giuseppe. „Le cinéma italien en France : histoire, société et diffusion : étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino“. Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100096/document.
Der volle Inhalt der QuelleOne may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals
È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival
Deloingce-Veenendaal, Véronique. „Le personnage dans l'oeuvre cinématographique de Luchino Visconti“. Paris 4, 2006. http://www.theses.fr/2005PA040147.
Der volle Inhalt der QuelleFrom Livia Serpieri to the Prince of Salina, from Angelica to Gustav von Aschenbach, the cinema of Luchino Visconti has given birth to a number of characters among the most unforgettable produced by the art of cinema. This study attempts to depict the creative process and the technical means brought into play by Luchino Visconti and those who worked with him in order to build up and to give life to heroic figures mostly originating from the pens of the greatest authors. Research draws largely on accounts of close collaborators of the director and is divided into two parts. The first part treats the physical reality of the characters and looks for the causes behind the visual perfection of Visconti costumes. These reasons are to be found as much in the history of Italian cinema as in the application of a strict Visconti method. The second part attempts to grasp the hero in a socio-economic context and to draw a moral portrait. Particular attention has been paid to the literary origins of the Visconti hero, and especially to an analysis of the fundamental influence which the work of Marcel Proust had on Visconti's creativity
Quaquarelli, Lucia. „Objets de fiction, quelques fonctions narratives de l'objet romanesque (France-Italie 1980-1990)“. Paris 3, 2003. http://www.theses.fr/2003PA030088.
Der volle Inhalt der QuelleThis work deals with the study of objects in novels. It lays out a " functional " analytical path of these magical objects, based on the reading of a number of Italian and French novels from the Eighties. Although these fictive objects generally manifest an important utility profile - in a similar way to their cousins in the real world (by the necessity of resemblance and internal motivation) - they equally always possess a fictional and functional role which goes beyond such a profile. It is a role which appears around the relation the objects establish with the characters and the events of the story or, on another level, with the narration. A role which registers constants within the history of the novel, from which it is interesting to measure the distance, rather than the points in common, which mark the most recent production. This is the reason why this study proposes two distinct paths between the objets which punctuate the novels of the Eighties. The first follows the traces of the relation which ties the fictive objects to the characters and the second questions the functions of the fictive objects with regard to the narration. Only two paths are proposed in the vast and complex network of invisible relations at the heart of which the object can be found; two paths which pan out far from the will to taxonomize or be exhaustive. Two analytic itineraries which respond to the necessity to account for the specificity of the corpus of fiction chosen, with for a backdrop a diachronic-dialectic literary dimension from which this specificity can be grasped
Repetto, Benedetto. „Le documentaire Italien : la contestation cinématographique dans l'ère Berlusconienne“. Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLV069.
Der volle Inhalt der QuelleThe present study debates the Italian documentary in Berlusconi’s era reflecting on its interactions with historical and cultural transformations in Italy. This documentary production reveals the urge to expose power mechanisms and seek truth in a moment when making political cinema looked difficult. We started from the theory that a political protest documentary certainly existed, and the study of the social context in which a certain movie was realized allows us to establish the frame in which the authors operated their criticism. The documentary focused on reality, correlating with history and memory. It served as an archive for struggles. These movies witness painful stories, but also show the resisting fraction of a people. This kind of documentary aspires to being the historical memory of that Italy
Murru, Matilde. „L'image et la culture de la Sardaigne dans la filmographie italienne du deuxième après-guerre à la fin des années 70“. Paris 3, 2002. http://www.theses.fr/2002PA030100.
Der volle Inhalt der QuelleLand of bandits or exotic holiday paradise ? It seems that from its first appearances on the screen Sardinia offers only these two clichés. This paper intends to go beyond the commonplace to precisely analyse the image the cinema has given to Sardinian culture and reality, with its language and its peculiar features. During our study, documentary films and fictions concerning the island have been considered from the Second Post-War to the end of seventies. The documentary films have been divided in six thematic groups relating to historic periods and to the most important problems of Sardinian society. In terms of fiction, we sought to draw up an inventory of all films which recall, directly or indirectly, Sardinia from Cenere (1916) with Eleonora Duse to Marco Ferreri's Chiedo asilo (1979). Finally we point out two short interviews with Gavino Ledda and with the Taviani brothers, respectively author and directors of the most famous film abroad and probably the only one which was able to portray clearly some Sardinian reality
Panzeri, Miriam. „Le projet d'un nouvel humanisme dans la culture architecturale en Italie et en France après la Seconde Guerre mondiale (1945-1965)“. Paris 1, 2012. http://www.theses.fr/2012PA010532.
Der volle Inhalt der QuelleKern, Bonnie. „La réception historique du cinéma américain en France (1980-1985) : la critique française et la représentation de la femme“. Lyon 3, 2008. https://scd-resnum.univ-lyon3.fr/out/theses/2008_out_kern_b.pdf.
Der volle Inhalt der QuelleDuring the 1980s, two phenomena resonated in French society. The first phenomenon was a backlash against the social progress of women made over the previous two decades. The second was an intensification of the fascination - repulsion dynamic with American popular culture. The concurrence of these two factors is the origin of this doctoral dissertation whose aim is to understand the evolution of the female condition in France through the study of the French critical reception of American films. The historical materialist approach to reception studies, as developed by Janet Staiger (1992, 2000), guides this research. It consists in observing the historical anchoring of debates sparked by the film amongst spectators evolving in diverse social formations (nationality, age, gender, etc. ). Also fundamental to this research is the theory of utterance (« énonciation ») proposed by Käte Hamburger (1986). According to Hamburger, the film director does not determine an exclusive and obligatory point of view to which the spectator must adhere in order to "correctly” interpret the film. In fact, to build her interpretation, the spectator chooses one (or several) of the possible points of views offered by the film. This doctoral dissertation is divided into three parts. The first part presents the theoretical and methodological framework. The second part contains case studies of the French critical reception of four American films (Kramer versus Kramer, Victor, Victoria, Tootsie, Desperately Seeking Susan) at the time of their release. The final part offers a social and historical contextualisation of these analyses
Dematteis, Bianca Maria. „La rappresentazione della violenza politica e della violenza di guerra nelle riviste « L'Uomo qualunque », « Candido » et « Il Borghese » (1945-1956)“. Paris, EHESS, 2015. http://www.theses.fr/2015EHES0077.
Der volle Inhalt der QuelleThe research aims at investigating the proposed representation of fascism in Italy after world war II, by cultural environments with no direct links with fascism or anti-fascism. This research has considered a specific area of the italian press. Three periodicals were chosen: L'uomo Qualunque directed by Guglielmo Giannini, Candido directed by Giovannino Guareschi and Giovanni Mosca (from 1950 Giovannino Guareschi will be the only director) and // Borghese directed by Leo Longanesi, published from december 1944, december 1945 and march 1950 respectively. The periodicals were analyzed from the first to the last issue released in 1956. Fascism and the war are analyzed by attempting to focus, in a more general context of historical reconstruction, on representation and discursive modalities through which violence done and suffered by italians is described. The representation of fascism and, in particular, fascist violence is the subject of this analysis, to which an appendix on several episodes of violence that took place in Italy between the end of the war and 1949 is attached. The aim is to confront the continuities and discontinuities in the approach to the topic of violence and the definition of its actors. The thesis is structured in five chapters : the first one is dedicated to the period from 1922 to 1938 ; the second part is a description of violence of war 1940-1943 ; the third one is focused on the representation of Shoah ; the fourth chapter is based on analysis of the period between 1943 and 1945 ; finally, violence occurred in the Italy during the first years of democracy is described
Conti, Eleonora. „Giuseppe Ungaretti, médiateur culturel entre la France et l'Italie, 1919-1929“. Paris 4, 2000. http://www.theses.fr/2000PA040209.
Der volle Inhalt der QuelleHunin, Juliette. „Le "mouvement de 77" : perceptions littéraires“. Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030001/document.
Der volle Inhalt der QuelleNine years after 1968, Italia is going again through one year of agitation. For a few months, the peninsula is crossed over by a social, political and cultural movement, extremely vigorous and offensive, that was named "movement of ’77". This irreverent contestation is going to change with the passing months : the demonstrations become bloody and the movement of ’77 turns to more radicalism. But it will be soon forgotten when Italia, on the 16th of March 1978, day of the kidnapping of Aldo Moro, will rush into the heart of what were called the "Years of Lead". Thus, the italian historiography rarely mentions this year of mobilisation, and only a few italian novelists were inspired by the insurrectionary movement of 1977. We will draw the literary reasons that led those novelists to take over the "movement of ’77", in order to understand the paradoxical exploration of that year which was on one side forgotten by the history of literature, and on the other side used to illustrate the values, the failures and the victory of a whole generation. How did the writers picture that movement? How did they confront its stakes, its drifts, and what it represents? What are the narrative solutions they have found to express it? How do their texts answer to the "myths", these dominating and reducing conceptions that the italian society, traumatised by this period of its history, have brought to the contestating youth? We will follow the diachrony of the literary perceptions of that event, from 1979 to 2007, through the works of Bruno Arpaia, Nanni Balestrini, Ferdinando Camon, Enrico Palandri, Paolo Pozzi and Luca Rastello
Omer, Ibrahim Babiker Asia. „Écriture romanesque, écriture cinématographique : le cas du "Hussard sur le toit" de Jean Giono et de son adaptation au cinéma par Jean-Paul Rappeneau“. Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCC029.
Der volle Inhalt der QuelleThe thesis is about the cinematographic adaptation of a literary work considered as inadaptable, The horse man on the roof published by Giono in 1951.The novel of Giono and the film of Rappeneau (released in 1995 with the same title) are both a fictional representation of a historical past.The novel and the film tell the story of an Italian political exile who behaves like a generous hero during a cholera epidemic in the nineteenth century in France. They use different codes and each have specific constituents.Our aim was to find out what are the respective logics of the fictional narrative and the cinematographic narrative. For this, after having defined the adaptation, we have located the novel and its meaning in the author's work, and then we have revealed the characteristics of the romantic universe of Giono, who often writes in the manner of a filmmaker. We studied the film from the point of view of the successive stages of its realization, from scenario to filming and editing, showing what were its techniques and how the diffusion was made.We thus showed that there were several transcodings of the text to the film. We compared the two stories and found that the filmmaker must respond to technical constraints, and structure according to the filmic medium.Rappeneau transforms and highlights the love story of the novel, while maintaining its aesthetic. He therefore proposes his reading of the work and his own interpretations. The cinema makes it possible to discover new works, those that it realizes and also those that it adapts. It allows initiating to culture. These aspects are very important in the transmission of a language, especially FLE in the Sudanese context.That is why we offer a didactic exploitation based on our experience at the university. Literature and film analysis are means to transmit and compare language and culture, to make a society known and it also reinforce motivation in an atmosphere of pleasure. They are sources of knowledge
Chandelier, Frédéric. „Les Cahiers du Cinéma dans les années soixante-dix : enjeux esthétiques de la représentation de l’histoire et de la mémoire des luttes populaires“. Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100110.
Der volle Inhalt der QuelleThis thesis concerns the period in which the Cahiers du Cinéma applied an ideological reading to popular film. It highlights the debates and various critical theories concerning social struggles within French, Italian and American cinema from 1973 until 1978. This work analyses the articles published in the Cahiers after Serge Daney and Serge Toubiana began managing the magazine. The changes which then occurred showed an intrinsic desire to revive film criticism after a period marked by the political commitments of the editorial staff (dating back to 1968). This merging of film criticism with a militant approach was achieved through a reading of the ideological intentions hidden within popular cinema. Film was understood by the magazine as a way for the bourgeois class to normalize its conception of the world, society and history. Along with the philosophers Michel Foucault, Jacques Rancière and the historian Marc Ferro, the critics of the Cahiers would go on to refine a historiographical approach of the representation of the working-class masses. From Charles de Gaulle’s France to Valéry Giscard d’Estaing’s election and to François Mitterrand’s socialist program, the editorial staff of the Cahiers du Cinéma focused its analysis on the transformations and fractures which characterized successive governments. This work reflects on the different readings that the critics developed, regarding the editing of historical and documentary films which recorded revolutionary movements like the May 1968 events. It also looks at the way films resorted to archive images, and the political decontextualization of the militant discourse, as well as the social and historical function that the critics of the Cahiers du Cinéma theorized, drawing from films such as Moi, Pierre Rivière..., Le petit Marcel, Milestones or Jonas qui aura 25 ans en l’an 2000
Caristia, Stefania. „La réception de la littérature française dans les revues littéraires italiennes de la deuxième moitié du XXème siècle (1944-1970)“. Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL079.
Der volle Inhalt der QuelleBeing periodicals a hybrid and fluid object, whose essential particularities are periodicity and the relationship with historical time, as well as being the polyphonic results of a collective creation, how would the study of the reception of a foreign literature in periodicals allow to overcome the distinctions in approaches between the aesthetics of reception and the history of reception, and between the notions of critical reception and creative reception? My research focuses on this question through the analysis of a heterogeneous corpus of thirty Italian literary and politicalliterary periodicals. Building on the notions of “transfer” and “networks” and by crossing quantitative and qualitative approaches in the analysis of French texts, translations and criticism edited in the reviews, my research aims at identifying reception’s places and modalities, its evolutions and invariants after World War II. The interdisciplinary point of view adopted, focusing on the phenomenon’s many aspects, takes a new look on the intermingled histories of French and Italian literature, as well as on the periodicals’ activity and forms of literary criticism. By questioning the mechanisms through which periodicals adapt foreign literature, I aim at surveying the relationships between the reception of literary works, the history of a national literary field and the extraliterary factors (history, politics, ideologies…)
Herrera, Aliosha. „Histoire du cinéma thaï de 1945 à 1970 : l'ère des fictions populaires en 16mm“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA128.
Der volle Inhalt der QuelleThe 1950s and 1960s appear as two decades of intense effervescence in the field of Thai cinema. In the immediate aftermath of the Second World War, the adoption of the 16mm format by a new generation of filmmakers gave rise to a very popular cinematic production in the kingdom. Whereas the musicals directed by the pioneer founders of the Phaphayon Siang Si Krung company until 1941 seemed to promise the perennial hegemony of a real ‘Hollywood of Siam’, these joyously rhapsodic fictions, filmed with makeshift means and accompanied live by the legendary loquaciousness of professional dubbers, encountered a broad public from Bangkok to the most remote provincial villages, within a screening framework stemming directly from earlier mixed shows. Nevertheless, the accidental disappearance of the actor Mit Chaibancha on the 8th of October 1970, during the shooting of Insi thong [« The golden eagle »], put an abrupt end to this singularly belated experience of oral cinema. The recent composition of an archival fund at the Thai Film Archive permitted the bringing to light of rich vestiges from this well-named ‘16mm era’. This research is a first historiographical attempt to exhume this visual patrimony, both embedded in the Siamese dramatic tradition and generated in the context of a military dictatorship that came under the complexe influence of its American ally during these Cold War years
Marchais, Nathalie. „La figure maternelle dans la littérature féminine italienne des quarante dernières années“. Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100231/document.
Der volle Inhalt der QuelleSince feminism emerged in the seventies, women writers have occupied an increasingly important place in the Italian literary panorama. Among the most dealt with subjects, those of the mother and motherhood have been of constant interest. Far from reproducing the usual stereotype of the Italian mamma, women writers have contributed to a progressive deconstruction of the myths inherent to that central figure of the culture and society. The seventies were characterized by the refusal of motherhood as a natural vocation of women, in connection with the feminist claims to own and control their own bodies, (abortion right, development of contraception, revision of the family law). In the eighties and until the middle of the nineties, the theme of the mother-daughter relationship imposed itself as a rehabilitation of the mothers of the past. The autobiography asserted itself at that stage under other forms. Since the middle of the nineties and until today, the new generation of women writers has tended to turn the mother of the narrative into a tormented, maladapted and unstable woman, even a monstrous being who fails to play her role, and puts her children’s lives in danger. This might be the reason why some heroines actually make the choice not to become mothers. Among the women writers studied: Dacia Maraini, Carla Cerati, Giuliana Ferri, Gina Lagorio, Francesca Duranti, Francesca Sanvitale, Fausta Cialente, Elena Ferrante, Simona Vinci, Letizia Muratori, Alina Marazzi, Cristina Comencini
Fouillet, Raphaële. „Les formes de contextualisation de la description du français dans les grammaires pédagogiques pour italophones (1970-2011). Cultures métalinguistiques et expertise professorale“. Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030152.
Der volle Inhalt der QuelleAccording to common discourse in the field of didactics, grammar, considered as an intimate related discipline to writing practices, seems to be often overshadowed since the introduction of the concept of the communicative competence in French as a foreign language teaching and learning. Nevertheless, the practices of teachers of French as a foreign or second language and the handbooks for language learning published in France certify a continuous presence of grammar activities in this field. The present study, based on this contradictory situation, seeks to analyse the grammatical discourse of handbooks specifically conceived for learners of French as a foreign language who share a common first language. With this aim, we review twenty six (26) books of grammar edited in Italy between 1970 and 2011. The study begins by investigating the designation and definition of parts of speech and the description of language facts by comparing them to a reference description of French Grammar. We try to reveal how this description takes place through a constant and widespread, diffuse character throughout the analysed period. The study continues by establishing a typology of different forms based on four categories of contextualization, all derived from the learners’ first common language and its specific context grammatisation. Finally, in the perspective of reconsidering the long-lasting relationship between teaching and language description in the occidental world, we suggest possibilities for joining French grammatical reference discourse adaptation and teachers’ professional expertise knowledge
Puliero, Catherine. „Nanni Moretti entre autobiographie, réalité et fiction“. Thesis, Paris 3, 2020. http://www.theses.fr/2020PA030004.
Der volle Inhalt der QuelleAt a time when the Italian cinema seems to be struggling to renew itself, Moretti emerges as a director-actor. He imposes on the public his silhouette, his face, his self-centeredness, a certain self-image tinged with a touch of irony. Since his beginnings, he talks about himself or about his generation and the previous ones, through the characters he plays on screen. Reviewing his entire production, we identify the existence of an interaction between autobiography, reality and fiction. This thesis starts a chronological and thematic study of the "Moretian" work based on four main key elements. The first one deals with autobiography as a source of inspiration and questions how the director structures his films between autobiography and self-portrait. It also reveals how he converts his life experiences, objects or places into autobiographical traces. The second key element demonstrates how the representation of reality is at the very source of his creations with the participation of his relatives or by using written or visual materials. The third key element further explores the creative mechanisms of his work. It especially studies the insertion of film quotes or the shooting of a film within the film in his fictions. A detailed study of Mia madre will confirm the filmmaker's use of autobiography, reality and fiction in this narrative. The fourth key element reveals how fiction by becoming reality makes Moretti a visionary artist
Feuillerac, Martin. „Les conséquences du travail empirique de Luciano Berio au Studio di Fonologia : vers une autre écoute“. Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20100/document.
Der volle Inhalt der QuelleIn 1955 the R.A.I. granted Luciano Berio permission to create the Studio di Fonologia in their Milan radio studios, the first European studio to combine “musique concrète” and purely electronic music. He was able to choose the equipment and define the usage of the studio so that it became a place where he would produce radio dramas for the R.A.I. at a furious pace for six years as well as a laboratory for personal research. Surrounded by a circle of avant-garde personalities, very aware of scientific publications of his time - notably in the domains of linguistics, musical theory and structuralism - he will dive in an empirical way into the heart of vocal material. The acousmatic nature of the studio, the absence of live performers, and the poetic and theatrical dimension of language will lead him to ask himself about the notion of listening, and in a Brechtian way, about listening to listening. We will attempt in our work to reveal - from his actual studio work - the elements which later merged to become the Berian style and which were already germinating or even perfectly recognizable during the period from Chamber Music to Laborintus II
Courriol, Marie-France. „Cinéma et expérience totalitaire : le laboratoire du genre du film de guerre dans l'Italie fasciste (1935-1943)“. Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30047.
Der volle Inhalt der QuelleThis thesis analyses the fictional war films produced in Fascist Italy from 1935 to 1943, from the Ethiopian war to the end of WWII. It argues that this genre functioned as a laboratory for the anthropological renewal of Italy in the Fascist totalitarian experiment. Fascist critics celebrated it as a cinematic and social model that had to be applied to the whole Italian film world, and whose on-screen features were to become the mirror image of an ideal Fascist society. After tracing the foundations of the Italian war film genre (critical debates, international circulation), the thesis interrogates the positioning of film professionals in relation to Fascist cultural policies. Lastly, it redefines the genre in terms of its interactions with Italian viewers and through advertisement. This thesis shows that war films of the period constitute a contested site serving multiple purposes for multiple groups. Relying primarily on archival material from Italy’s state archives and filmmakers’ private papers, this work presents several case studies of producers (Scalera, Bassoli Film), directors (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis Augusto Genina, Romolo Marcellini, Roberto Rossellini), screenwriters (Asvero Gravelli, Gian Gaspare Napolitano) and reception of specific films. A study of the multiple responses to the demands of an aspiring totalitarian system, both from the point of view of film consumption and filmmaking, contributes to the historiographical debate on Fascism by broadening the parameters of the longstanding debate on popular consent for the regime. In addition, this work demonstrates the need to interpret these films in a transnational perspective and not as mere political and national products
Tosatti, Ada. „L’ extrémisme littéraire et politique pendant les années soixante-dix. Le cas exemplaire de Nanni Balestrini“. Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030045.
Der volle Inhalt der QuelleThis work studies the relationship between political commitment and experimentalism in literature using the conceptual tool of extremism. It looks at how the revolutionary aspirations of the social political movements of the extreme left interconnected with the quest for a renewed liaison between literature and reality. A fitting example is the poet and novelist Nanni Balestrini [1935-] who was part of the new avant-garde movement during the 1960s and of the extreme left movements in the years that followed. His writings of that period hold a richness that has not yet been fully tapped. His use of language demonstrates his commitment to the practice of subversive writing as well as his political motivation. When the evolution of these works is followed, the emergence of an “interior working class” literature is observed. An example is the Vogliamo tutto [1971] novel, which foreshadows experiences from the “savage literature”. In addi! tion, works such as Vivere a Milano [1976] and La violenza illustrata [1976] exemplify heuristic and counter-information functions of the literature, while the analysis of Ballate della signorina Richmond shows how Balestrini’s poetics and those of the 1977 political movement significantly influenced each other. The subversion of the language and the production of new forms of communication appear thus to be at the core of political beliefs and reflections
Gohari, Nahid. „De la littérature au cinéma, transformation d'une écriture : le nouveau roman français et iranien et le cas de Bahman Farmânâra“. Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0225/document.
Der volle Inhalt der QuelleSince its birth, novel writing has gone through many changes, not only in its shape but also in its content. In the twentieth century, novel writing and especially cinema evolved impressively due to the technological and scientific progress. The influence of cinematographic techniques on the writing and the collaboration with the New Novelists - such as Alain Robbe-Grillet and Marguerite Duras, Houshang Golshiri, and French and Iranian filmmakers such as Alain Resnais and Bahman Farmânâra - led to the creation of a trans modal writing and to the appearance of hybrid texts that both include characteristics of literary and cinematographic narratives. We must accept the theory that cinema is the writing of tomorrow and that the modern man is facing the Era of suspicion. Nevertheless, this kind of writing illustrates a structural similarity particularly between the work of Farmânâra and the New Roman scenarios, especially from the point of view of the character. As a result, we have a scrambled structure in the space and in the time dimension. This context allows us to create a new image of a man who is lost in the modern problematic society
رمان از آغاز پیدایش همواره شاهد تغییراتی در فرم و محتوا بوده است .با این حال به کمک گسترش علوم متفاوت و تکنیک های سینمایی، این این تغییرات در قرن بیستم ابعاد تازه ای به خود گرفته است تاثیر تکنیک ھای سینمایی بر روی نوشتارو مشارکت رمان نو نویسندگانی چون آلن رب گریه و مارگاریت دوراس در فرانسه و ھوشنگ گلشیری در ایران با سینماگرانی چون آلن رنه فرانسوی و بھمن فرمان آرای ایرانی، منجربه تولد نوعی نوشتار چند وجھی و متون مختلط گردید که معرف خصوصیات ھردو ژانرسینمایی و ادبی می باشد. . بدین ترتیب این تئوری که سینما نوشتار فرداست مطرح میگردد. نوشتاری که خود را با نیازھای انسان مدرن که در عصر شک وارد شده است، تطبیق داده است. بررسی این نوشتار از نقطه نظر پرسوناژ، ساختار زمان و مکان و ... د ر آثار بهمن فرمان آرا و مقایسه ی آن با برترین رمان های نو، رب گریه ، بوتور، دوراس و ھمچنین برخی از کتاب ھای گلشیری که بعضا توسط شخص فرمان آرا اقتباس گردیده اند، علاوه بر نشان دادن نزدیکی سناریوھای وی با رمان نو ، مبین تصویر دیگری است ازاین انسان سرگشته درجامعه پر از دشواری عصر حاضر
Lauri, Laura. „L'affaire Cesare Battisti : enjeux politiques et littéraires“. Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30006.
Der volle Inhalt der QuelleCesare Battisti’s name is indeed that of a famous hero of the Great War, but it also evokes, traumatically, the crimes imputed by the Italian judiciary to the provocative and inflexible activist born in 1954 near Latina, in the Latium, who was given a life sentence in absentia, after a trial which was contested as based on charges presented by a single ‘penitent’. There is no doubt that Cesare Battisti was only a minor figure during the Years of Lead. In France, his exceptional ‘case’ was widely mythicized. Nevertheless, Battisti is still vilified. He thus makes for an enlightening transverse study, allowing us to leave behind the invectives and move on to much needed, dispassionate research, as documented and objective as possible, into that painful era and its aftermath. The origins of this puzzling, complex, and contested individual, highly perceptive and capable of numerous metamorphoses, together with his background, allow us to understand better his drift towards violent, extremist left-wing groupuscules. A mechanism is then set in motion, leading to a ‘case’ which seems endless, in its judicial complexities in Italy, but even more so in France where the sentences of the courts are interwoven with a vast media compaign, and later on in Brazil, still today. The inflexibility of the protagonist is a major factor in this situation. It entails a torrent of articles, statements, and very committed monographs from intellectuals, reverberated in the media and subsequently in the political sphere. Why this intensive media coverage, with all its twists, when the other refugees benefitting in France from the ‘doctrine Mitterrand’ can remain largely anonymous? Certainly because of Battisti’s main tactics— becoming a writer, and therefore an intellectual, thus sacred and unimpeachable in France— which also allows him to keep up his political fight, indirectly, between the lines. His crime novels, which are carefully crafted, and fed by his adventures and observations as an exile, reach far beyond the supposed limits of the genre, and raise questions that can capture our contemporaries’ interest. The defendant becomes an accuser. He highlights the many dead ends of the modern age. Thus he reshapes his image, through fiction, by means of omission and division. Analyzing Cesare Battisti’s life in its successive stages teaches us a lot about the cogs and wheels of a historical crisis, and about what still troubles our society
Sacco, Laure-Hélène. „L'opéra à l'épreuve du cinéma“. Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030106.
Der volle Inhalt der QuelleThe "opera film" corresponds to the encounter between two art forms envolving specific staging rules. It combines the requirements of opera and cinema alike whilst endeavouring to promote their mutual enrichment. In this dissertation I analyse the relevance of this encounter from a creative point of view. I intend to highlight the risks, stakes and artistic appropriateness of the opera film. The body of works has a Franco-italian dimension: it includes five films produced by Daniel Toscan du Plantier (Joseph Losey's Don Giovanni, Francesco Rosi's Carmen, Luigi Comencini's La Bohème, Frédéric Mitterrand's Madama Butterfly and Benoît Jacquot's Tosca) as well as two other films which he did not produced: La Traviata and Otello, by Franco Zeffirelli, also belong to this opera film "wave". First of all, I examine Daniel Toscan du Plantier's cultural policy as a producer. Indeed, it was thanks to him that this cinematic genre flourished significantly in the 1980s. I aim to define the creative context of these films and to understand his commitment towards their promotion as well as his genuine interest for Italian culture. I then move on to analysing the technical difficulties as well as the creative licence which results from screen adaptation. On the one hand, the cinematographic writing of opera implies concessions in staging and requires a position be taken in respect of aesthetics, cinematographic and opera. On the other hand, it also triggers a new and original reading of opera. I assess the requirements which result from the opera-cinema articulation and the solutions, often musical, proposed by films directors confronted to these constraints. In Part II I focus on the achievements of this union, first by thematically analysing each director's the visual interpretation of music provided in the films included in the body of works. I argue that the moving image transcribes music, that cinematographic writing translates the music score visually and that it can enhance the emotional dimension. Finally, I examine the response to these films in France and in Italy, especially through the critics divided between the democratisation of opera and the vulgarisation of lyric art
Dayan, Hélène. „La représentation du Pouvoir depuis 1990 par les réalisateurs Italiens : un nouveau cinéma politique engagé?“ Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030176.
Der volle Inhalt der QuelleHow can we consider the Italian cinema of these past twenty years? In France it is associated with a few movie directors such as Roberto Begnini, Nanni Moretti, Sabina Guzzanti and more recently Paolo Sorrentino or Matteo Garrone, who fight against Berlusconi and a corrupt political and economic system, but it isn't received with such esteem in Italy where it is considered at the most as a means of entertainment, as indicated by box-office results.In both countries, reviewers however agree to say that for about ten years we have been witnessing a return to a « cinema d'impegno » (politically-motivated films), a form of cinema which is dear to the directors of the 60´s and 70's. Sorrentino and Garrone would have respectively taken over from Elio Petri and Francesco Rosi... Can we talk about a new wave of politically and socially-aware movie directors and about a new political Italian cinema? To answer this question, we have been studying four films in particular, which deal with themes that are explicitly political and which offer a different representation of the man of Power from the official one.: Il portaborse by Daniele Luchetti, Il Caimano by Nanni Moretti, Il Divo by Paolo Sorrentino and Qualunquemente by Giulio Manfredonia. After analysing the way the man of Power is depicted by these movie directors, we have tried to understand if these films are the expression of a real political commitment and of a will to denounce or if they only meet the demand of a market economy and the need for people to hear a reassuring speech. In a society where speaking badly of Berlusconi has allowed some to grow richer and make themselves known, and where movie production and distribution systems seem closed, the very existence of a political cinema appears problematic. Indeed, it seems difficult to consider that a cinematographic work can express some opposition if this work is accepted and financed by the undertakings of the man it criticizes. Faced with this context and with the testimonies of numerous leading figures of Italian cinema, we have been trying to understand if the meaning and the criteria on which the notion of political cinema is based have to be redefined