Auswahl der wissenschaftlichen Literatur zum Thema „Documentaire et fiction“
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Zeitschriftenartikel zum Thema "Documentaire et fiction":
Thériault, Mélissa. „Documentaire et jeux de fiction. Le cas du cinéma québécois1“. Globe 17, Nr. 1 (12.02.2015): 131–52. http://dx.doi.org/10.7202/1028636ar.
Desbarats, Carole. „Claire Simon, entre fiction et documentaire“. Esprit Novembre, Nr. 11 (2013): 138. http://dx.doi.org/10.3917/espri.1311.0138.
Gaudreault, André, und Philippe Marion. „Dieu est l’auteur des documentaires…“. Cinémas 4, Nr. 2 (04.03.2011): 11–26. http://dx.doi.org/10.7202/1001020ar.
Morin, Stéphane. „Nick's Movie : le point de fuite“. Cinémas 4, Nr. 2 (04.03.2011): 101–17. http://dx.doi.org/10.7202/1001025ar.
Archibald, Samuel. „Vraie fiction et faux documents“. Protée 39, Nr. 1 (05.12.2011): 77–88. http://dx.doi.org/10.7202/1006729ar.
Argod, Pascale. „Le carnet de voyage audiovisuel ou cinématographique“. Téoros 30, Nr. 1 (04.09.2012): 119–27. http://dx.doi.org/10.7202/1012115ar.
Decourchelle, Denis. „La photographie comme l'anthropologie : entre documentaire et fiction“. Journal des anthropologues 45, Nr. 1 (1991): 145–47. http://dx.doi.org/10.3406/jda.1991.1634.
Marsolais, Gilles. „Les Mots de la tribu“. Cinémas 4, Nr. 2 (04.03.2011): 133–50. http://dx.doi.org/10.7202/1001027ar.
Hong-Mercier, Seok-Kyeong. „La question de reconstitution dans le docu-fiction historique. Une hybridation entre la vraisemblance et l’authenticité“. Figures de l'Art. Revue d'études esthétiques 11, Nr. 1 (2006): 121–37. http://dx.doi.org/10.3406/fdart.2006.1405.
Garson, Charlotte. „Le documentaire, horizon du cinéma contemporain ?“ Études Tome 412, Nr. 4 (30.03.2010): 507–17. http://dx.doi.org/10.3917/etu.4124.0507.
Dissertationen zum Thema "Documentaire et fiction":
Girardi, Bertrand. „L'imaginaire lumineux : un corps de l'image entre fiction et documentaire : le style kubrick“. Bordeaux 3, 2005. http://www.theses.fr/2005BOR30013.
Picture which is pictural, photographic, cinematographic or televisual wathever numeric should compose with light composent. However, it is not a matter of light inside picture without colling its materialized representation : the luminous. Indead once impressed with the scope light becomes the picture reality, a materiality. That means a transitority like a emanation between presence and absence. Than we could considerer luminous factuel or luminous of lighting. These huge materialities belong to same object or sememe (luminosity) and constitute a new type of hearth in the space of reception. Can the luminous and its shadow be of an unspecified utility in the entire distinction between fiction and documentary ? The setting in analysis of luminous in Stanley Kubrick films propose to read fictionnal films under a new approach and to apprehend documentary film according to new criterials. The spectator can gain a new glance there in the filmic language. More ever, the setting in front of luminous element like signs linguistic image, rise the importance of imaginary in filmic discourse reception. Becoming conscious, through perception of the luminous of more or less relationship with reality or imaginary, can help to get a better understanding of the world (mental, imaginary or reality)
Cohen, Grégory. „Un cinéma de recherche entre fiction et documentaire : retour sur une expérience de film autour des relations filles-garçons avec des jeunes d’une cité HLM“. Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLE018.
Starting from a filmic research on young people and love in a working-class neighborhood, this thesis, between social sciences and cinema, research and creation, raises a question of society - how young people deal with the social norms imposed by their groups of belonging? - and a question of cinema - how does the detour through fiction and improvisation allow us to investigate social realities and to imagine other ways of working with the surveyed ? It is based on a multi-year ethnographic survey in a working-class and immigration district of Paris suburbs (Les Mureaux - Yvelines), as well as on film workshops and the shooting of a film (The court of whispers) between fiction and documentary with young inhabitants aged 15 to 20 years old. In this space, where acquaintanceship is highly developed and each ensures his reputation, young people have difficulty showing their feelings and are often forced to play a social role. We wanted to study the specificity of this theatrical self-presentation, which is both a constraint - the injunction to adopt an attitude specific to the morality of the neighborhood - and a mode of survival and resistance, since it also allows to escape the eyes of others and more broadly the social norms that weigh on these young people. The film is an opportunity to create a privileged space of speech that allows reflexivity. It becomes a way of co-constructing research with the filmed and to release dominant representations of young people from working-class neighborhoods. The writing goes back to the social issues and cinema issues that have led this research. It reflects the thought in the film, both sociological and cinematographic. He goes back on his conditions of fabrication, his choices of realization, his theoretical inspirations, the "moments of cinematographic life" that emerged in this research
Henric, Lise. „Les nouvelles stratégies de promotion, de distribution et de diffusion d’un documentaire français : le cas particulier du docufiction à la télévision (2000-2014)“. Thesis, Paris 2, 2015. http://www.theses.fr/2015PA020013/document.
Responding to the public’s expectations and following the 1999 BBC English Channel success of "Walking With Dinosaurs" watched by six millions of viewers, anew genre emerged in the 2000s on the French television : the docufiction.This hybrid genre has achieved a particular recognition over the years establishing itself as a whole new genre. It is a mix of fiction with rebuilt scenes, actors playing fictitious scenarios and a mix with traditional documentaries based on testimonies, images from archives, scientific materials as well as a voice over to guide the public.This doctoral thesis offers to study the emergence of the docufiction and its evolution in France. We will begin our analysis with "A Species Odyssey", the first French docufiction broadcasted on France 3 in 2002. Thank to this study we will bring out the different kinds of docufiction, their limitations and their contributions to the genre. We will also highlight the importance of archives in docufictions. However, if we consider archives convey the author’s vision, we can thus wonder whether they reflect the author’s own world or not.This research is a prospective study aimed at finding solutions. As a matter of fact, many viewers are not able to distinguish fiction from reality. Accordingly, we will focus to provide recommendation to the different members such as producers,broadcasters, directors and audience
Diaz, Raúl José. „Portée esthétique et documentaire de l'oeuvre journalistique de Gabriel García Márquez entre 1980 et 1996“. Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030067/document.
A stylistic school, a vehicle for recollection and reflection, an experimental field with narrative forms, Gabriel García Márquez’s journalistic works are characterised by both an undeniable literary ambition and genuine documentary value. An examination of the columns, Notas de Prensa 1980-84, and the reportage, Noticia de un secuestro [1996], leads to the following finding: the attempt at aesthetic transformation that runs throughout these works confirms what was already obvious in the initial period (1948-1961), the consolidation of a singular level in his work that approaches in a subsidiary but not subordinate manner his literary works proper. This quest can be seen definitively in all his reportage work, the area in which the approach to the documentary material borders on that of the novel form. The key to this transposition of rhetorical and narrative recourse to non-fiction would appear to be found in the style –its inalterable nature. It is in this way that the interplay between the two fields of his writing proves to be so rich; both ultimately strive for a poetical vision of reality and they independently validate their representative processes. However, this converging trend also contains some areas of tension, not least of which when the author allows himself to digress in his columns into what is nothing less than a brief sketch of a fictional work. In contrast, in the reportage intended to be written as a novel, a strict adherence to the investigation itself becomes increasingly crucial. It is in this way that his journalism can be seen as both a precursor in the Colombian press and as part of a universal current
Shi, Xin. „Le style poétique au cinéma : recherche en poétique à travers la réalisation du documentaire-fiction "Shangai, Nostalgie"“. Paris 1, 2009. http://www.theses.fr/2009PA010533.
Zenker, Kathrin-Julie. „Au bord du jeu. : Esthétiques du réel dans la création documentaire contemporaine“. Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3012.
The aim of the present thesis is on one hand, to explore the relationship between artists and reality from a philosophical and anthropological perspective and on the other hand, to describe the ontological and aesthetical position of the actor/performer in contemporary documentary art, particularly in theatre. Since any form of documentation of reality requires a definition of the real and the ways to deal with it, or to capture it, a definition of “perception” is essential, from a philosophical, ethnographical and physiological perspective. The contemporary point of view in this respect can be described as absolutely constructivist. Reality stands out as the product of a balanced communication between subject and object. Observer and observed reality are not in opposition to each other, in a hierarchical and dichotomous way as Descartes formulated it in his rationalist concept of res cogitans and res extensa, but they rather interact into a dialogue. For the contemporary documentary art this definition of reality offers two sides: on one hand, in an attitude that meets reality rather carefully and doubtfully, it results in an opened, fragmented and heterogeneous form of art. On the other hand, documentary art deals with the ethical and aesthetical problem of playing (with) the documentation. Each and every documentary artist shall constantly assess, whether and to what extend art is allowed to play with reality. However, the statement that playing with reality fulfills a unique, both epistemological and anthropological function, is definitely the subject of the present study
Die folgende Studie untersucht einerseits, aus philosophischer und anthropologischer Perspektive, die Beziehung des Künstlers zur Realität. Andererseits beschreibt sie die ontologische und ästhetische Stellung des Schauspielers/Performers in der zeitgenössischen Dokumentarkunst. Da jede Form von Dokumentation der Wirklichkeit eine Definition des Realen und den Möglichkeiten diesem zu begegnen, beziehungsweise es zu erfassen, voraussetzt, scheint es unumgänglich den Begriff der « perception » (Wahrnehmung) auf philosophische, aber auch ethnographische und physiologische Definitionen abzuklopfen. Die zeitgenössische Perspektive, die sich dabei abzeichnet, scheint unumschränkt konstruktivistisch, d.h. dass sich Wirklichkeit als Produkt einer gleichberechtigten Kommunikation beschreiben 347 lässt, auch da wo der Mensch ein Objekt wahrnimmt. Beobachter und beobachtete Realität stehen sich nicht, wie es Descartes rationalistisches Konzept der res cogitans und res extensa formuliert, hierarchisch und dichotomisch gegenüber, sondern dialogisieren vielmehr. Für die zeitgenössische Dokumentarkunst ergibt sich daraus einerseits, dass sie Wirklichkeit eher vorsichtig und zweifelnd begegnet und ihr dementsprechend im Rahmen der Kunst offene, fragmentarische und heterogene Formen gibt. Andererseits setzt sie sich mit dem ethischen und ästhetischen Problems des Spiels von oder mit Dokumenten auseinander. Ob und inwieweit die Kunst mit der Realität spielen darf, muss von jedem Dokumentarkünstler neu beantwortet werden. Die Feststellung aber, dass Spielen mit Realität eine ganz eigene, epistemologische und anthropologische Funktion erfüllt, wird anhand der vorliegenden Studie anschaulich
Landrieux, Valéry. „Les Représentations de la banlieue dans le cinéma français de fiction et documentaire, des frères Lumière jusqu'à la fin du muet : aspects idéologiques et esthétiques“. Strasbourg 2, 2002. http://www.theses.fr/2002STR20005.
Brock, Johanna. „Traduire, un jeu d'enfants? : Les enjeux de la traduction en suédois d'un livre documentaire français pour enfants“. Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-89003.
Sussfeld, Frédérique. „Entre expériences, récits et actions la communication du mouvement de la transition écologique traduit-elle un changement d’heuristique?“ Electronic Thesis or Diss., Aix-Marseille, 2021. http://www.theses.fr/2021AIXM0069.
The ecological transition is investing the field of environmental communication by mobilising two distinct communicational phenomena, documentary film and transitional civic initiatives revealing attitudes that renew the interconnection between our tradition and the living world. By letting our comprehension of the way species function broaden, the permaculture-inspired ecological transition would allow for another relation to others. In communication sciences, players of the transition movement would be focusing on the present in numerous countries, thus encouraging the creativity of its protagonists based on their abilities and ensuring that daily actions would build the world of tomorrow. Developed by individuals with increased capabilities on environmental issues, inclusive, this cultural movement would rely on different narrative structures composing a communication gathering facts and sensitive experiences. From a corpus of movies that marked a turning point in the field of ecological documentary films, and the observation of a new permaculture-based transition project, the research conducted in information and communication sciences using an inductive and anthropological method prioritises the study of processes set up by the protagonists as well as the narrative processes employed, allowing to access interpersonal and inter-groups communications showing how people integrate notions of culture, performativity and acculturation in their daily lives. In a context where environmental communication calls up notions of fear, catastrophe and anxiety is the communication around the transition movement showing a change in heuristics?
Ghasemian, Ali Aveh. „Histoire de la caméra portée dans le cinéma iranien, sous ses aspects esthétique et ontologique (1957-2016)“. Electronic Thesis or Diss., Paris 10, 2020. http://faraway.parisnanterre.fr/login?url=http://www.harmatheque.com./ebook/la-camera-portee-dans-le-cinema-iranien-esthetique--sociologie-et-ontologie-72796.
Abstract Subject : History of portable/handheld camera in iranien cinema under his aesthetic and ontological aspects (1957-2016) The cinematographic reality takes a new controversial dimension in the form and content of the movie since the portable/handheld camera is part of the new cinematographic practices (since 1924). The relationship between reality and cinematographic movement requires a new retrospection through this device. Through the technological development in the history of cinema, the portable camera, focused on this research, the shoulder and fist-mounted camera, applies theses various functions to the pictures. However, until now, there are few serious analyzes, available, regarding its functions, both stylistic and conceptual. To answer this need, it is necessary to consider a cross-sectional study under the based on the history of the portable camera, its position, its functions, and its evolution over the years in the movie directing. I will focus particularly on the case of iranian fiction cinema. In this little-explored area, i let myself be transported by the portable camera that ascend its path by finding its traces from the first to the last movie (1957-2016) in the iranian fiction cinéma. This will be followed by different comparative analyzes of pre and post-revolutionary iranian movies, highlighting the difference between the portable/handheld camera and the subjective camera, study on other iranians cinemas, such as : the iranian New Wave and internationals cinemas, the influence of « direct cinema » on the iranian fiction cinema by specifying the role of the portable camera and the transfer of this device to the iranian documentary-fiction cinema. Finally, we will examine the role of the portable camera in the fiction cinema of the post-Green mouvement iranien, by two films : The Separation in 2011 and The Salesman in 2016 by Asghar Farhadi. In the last part of this research, and this is the innovative spirit of the research, i will analyze this process, ontologically, through the marriage of history and aesthetic, theory and practice (film directing), body and mind in the cinema. At this section, the aesthetics functions of the portable camera trough the selected movies, at the directing aspect, are studied from an ontological point of view. The goal is to develop a perceptible knowledge of this device. This project will allow the all actors of the cinema and even the cinema lovers to better apprehend the role of the portable/handheld camera in the iranian cinema, related to a trend of the international cinema
Bücher zum Thema "Documentaire et fiction":
Binh, N. T., José Moure und Solveig Anspach. Documentaire et fiction: Allers-retours. Bruxelles]: Les Impressions nouvelles, 2015.
Porte, Michelle. Michelle Porte: Entre documentaire et fiction : un cinéma libre. Lormont: Bord de l'eau, 2010.
Foley, Barbara. Telling the truth: The theory and practice of documentary fiction. Ithaca: Cornell University Press, 1986.
Jean-Paul, Bédard, und Centre franco-ontarien de ressources pédagogiques., Hrsg. Langue et paroles 1. Ottawa: Centre franco-ontarien de ressources pédagogiques, 1992.
Barnouw, Erik. Documentary: A history of the non-fiction film. 2. Aufl. New York: Oxford University Press, 1993.
Veyrat-Masson, Isabelle. Télévision et histoire, la confusion des genres: Docudramas, docufictions et fictions du réel. Bruxelles: De Boeck, 2008.
Veyrat-Masson, Isabelle. Télévision et histoire, la confusion des genres: Docudramas, docufictions et fictions du réel. Bruxelles: De Boeck, 2008.
Crusie, Jennifer. Welcome to Temptation: Bet me. New York: St. Martin's Griffin, 2006.
Crusie, Jennifer. Welcome to Temptation. New York: St. Martin's Press, 2000.
Crusie, Jennifer. Welcome to Temptation. London: Pan, 2001.
Buchteile zum Thema "Documentaire et fiction":
Csönge, Tamás. „Fictionality as a Rhetorical Tool in Political Mockumentary Films: The Interplay of Fictionality and Factuality in C.S.A.: The Confederate States of America“. In Truth Claims Across Media, 153–78. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42064-1_7.
Beaufils, Cécile. „Le magazine Granta, l’esthétique documentaire et le réel-kaléidoscope“. In Frontières de la non-fiction, 161–71. Presses universitaires de Rennes, 2014. http://dx.doi.org/10.4000/books.pur.56147.
Bluher, Dominique. „Du documentaire, de la fiction et de leur alliage“. In Le court métrage français de 1945 à 1968, 61–67. Presses universitaires de Rennes, 2005. http://dx.doi.org/10.4000/books.pur.2107.
PEJOSKA, Frosa. „Réel étrangéisé et roman de l’étrangéisation“. In Le prévisible et l’imprévisible, 269–80. Editions des archives contemporaines, 2023. http://dx.doi.org/10.17184/eac.7085.
„Limitation de Jésus-Christ. Le Royaume d’Emmanuel Carrère et les apories du roman documentaire“. In Territoires de la non-fiction, 207–17. Brill | Rodopi, 2020. http://dx.doi.org/10.1163/9789004439313_015.
Humbert, Sylvie. „Entre fiction, savoir et pratique judiciaire : La conception d’un documentaire autour d’un procès médiéval en 1415“. In Savoirs de la fiction, 103–21. Presses universitaires de Rennes, 2021. http://dx.doi.org/10.4000/books.pur.178156.
Pierron-Moinel, Marie-Josèphe. „Le jeu entre fiction et documentaire comme procédé discursif dans L’Île aux fleurs de Jorge Furtado“. In Frontières de la non-fiction, 105–15. Presses universitaires de Rennes, 2014. http://dx.doi.org/10.4000/books.pur.56139.
Tanant, Myriam. „Entre documentaire de fiction et fiction « documentarisée » : le cinéma de Fellini à l’épreuve de la télévision“. In Les habitants du récit, 181–91. Presses Sorbonne Nouvelle, 2008. http://dx.doi.org/10.4000/books.psn.7183.
Kerlan, Anne. „Fictions et documentaires cinématographiques chinois“. In Encyclopédie des historiographies : Afriques, Amériques, Asies, 612–20. Presses de l’Inalco, 2020. http://dx.doi.org/10.4000/books.pressesinalco.24628.
VINCENOT, Emmanuel. „Non-fiction et ingénierie sociale à Porto Rico“. In Ecritures de non fiction en Amérique latine, 47–66. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4901.
Konferenzberichte zum Thema "Documentaire et fiction":
Asholt, Wolfgang. „Pratique documentaire ou fiction historique ? Formes du savoir historique chez les Incultes. L’Île comme Forteresse et l’archipel des Places“. In Inculte : pratiques éditoriales, gestes collectifs et inflexions esthétiques. Fabula, 2023. http://dx.doi.org/10.58282/colloques.9800.
Riera Retamero, Marina. „Touki Bouki: (des)encuadres políticos de la diáspora estética“. In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10292.