Dissertationen zum Thema „Documentaire et fiction“
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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
Agnese, Roberta. „Politiques de la fiction dans les images documentaires. Présentisme et photographie“. Thesis, Paris Est, 2019. http://www.theses.fr/2019PESC0059.
This thesis in aesthetics focuses on the status of photography, and more precisely on its capacity to document, as well as on the temporality regimes it mobilizes in its documentary strategies. It is part of the studies aimed at analysing the links between photography and history, and its ambition is to position itself in the field of a "philosophy of photography" with the aim of understanding the cognitive and epistemological issues of this medium. The inquiry was formulated on the basis of Walid Raad's work, and was then extended to other artistic practices which, like Stan Douglas', invest photography in its post-documentary declinations and which question its role and functions. In this process, one concept in particular guided my reflection, that of presentism, which I borrow from the theory of historiography. Forged by François Hartog as part of his reflection on regimes of historicity, it is used by the historian as a heuristic tool and deployed to understand the unique relationship that a given era, ours in this case, maintains with time. I used this notion in the same way as Hartog himself, as an interpretative instrument, but by changing its object of investigation. By applying the concept of presentism to the understanding of the temporality of the photographic image rather than that of the regimes of historicity, I was able to question the status of the photographic document and in particular the temporal regime it conveys. When applied to the theory of images, this notion, first formulated to provide a negative critique of the regime of historicity prevailing in our time, acquires a positive meaning since it shows us the different temporalities at work in the photographic medium, which is revealed to be not only a vector of memory but also a producer of meaning for our present. A powerful instrument of presentism on the one hand, and an antidote to it on the other, the photographic image thus understood shows us all its involvement with the present of its shooting but also with the present of the observer who looks at it. A renewed understanding of the challenges that photography raises, also concerning the technical changes that affect it, nevertheless requires us to question the theoretical framework through which it has always been interpreted, namely that of the index, of the faithful evidence of reality, and therefore, seen as a result, as a faithful document of the past. But as I have tried to demonstrate by interpreting photography under the sign of presentism, it is not only the trace of what has been, but also and above all a possible configuration of present reality. To understand the intertwining of the different temporalities at work in the photographic image, it seemed necessary to me to ask what a tool like fiction could teach us about the temporal regimes of photographs, since it was immediately fundamental to explore these temporalities in all the strata of which they are composed. Contemporary artists practice a policy of fiction while producing photographic images called "documentary". In order to test my theoretical framework, I have identified two fictionalizing strategies that seem to me to be the most significant or fruitful: on the one hand, those that invest the practice of archiving but that reverse and reinvent status and documents; on the other hand, those that achieve a performance in the image, or that perform the image by staging space and time. If building, or rather configuring the "it has been" allows us to consider the role of fiction, then we will have to question what fiction means in the context of a photographic image that remains documentary while being fictional, that is testimonial but also staged or performed. We will see that it is a real poietic necessity, that of redrawing the boundaries between truth and fiction, plausible and possible, by fictioning reality and by by showing the potential truth of fiction
Carré, Valérie. „La quête anthropologique de Werner Herzog : documentaires et fictions en regard /“. Strasbourg : Presses universitaires de Strasbourg, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9782868203588.
Bérard, Catherine. „Le personnage de Sindbad le Marin études, analyses et critiques /“. [S.l.] : [s.n.], 2002. http://www.enssib.fr/bibliotheque/documents/dessid/rrbberard.pdf.
Hosny, Raymond. „La création théâtrale contemporaine au Liban entre mémoire archivée et document fictif“. Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080006.
What is the difference between memory and imagination ? How does one evoke the history of a war whose scars are still fresh and which one would like to forget ? Is theater able to provide other points of view of such a history ? Between the necessity to remember and the need to forget, theatrical creation in Lebanon in the 21st century points out the possibilities and limits of writing the history of the civil war (1975-1990). Newspaper articles, miscellaneous news items, photos, videos, and the internet become the materials of scenic work, palimpsestes witnessing the symptoms of a conflicting memory, latent or traumatized, underlining the misdeeds of voluntary forgetfulness and the influence of the media.The fictitious potentiality of documents and of archives highlights the stakes of creation, particularly in the works of the theater companies of Arcinolether, Rabih Mroué, and Walid Raad. To investigate, to tell, and to question become the modalities of a scenic language. These narrative forms resemble art performance and call into question theatrical representation and acting. Deriving from a "dramaturgical documentary", contemporary theater in Lebanon performs on the frontier between reality and fiction. The elusive quality of the truth has political implications and renders porous the relationship between witness testimony and false document. In submitting the past to debate, do these imaginary realities allow us to mourn an interrupted history, to introduce a new way of looking at the past, or to trigger the "process of resiliency" ?
Hosny, Raymond. „La création théâtrale contemporaine au Liban entre mémoire archivée et document fictif“. Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080006.
What is the difference between memory and imagination ? How does one evoke the history of a war whose scars are still fresh and which one would like to forget ? Is theater able to provide other points of view of such a history ? Between the necessity to remember and the need to forget, theatrical creation in Lebanon in the 21st century points out the possibilities and limits of writing the history of the civil war (1975-1990). Newspaper articles, miscellaneous news items, photos, videos, and the internet become the materials of scenic work, palimpsestes witnessing the symptoms of a conflicting memory, latent or traumatized, underlining the misdeeds of voluntary forgetfulness and the influence of the media.The fictitious potentiality of documents and of archives highlights the stakes of creation, particularly in the works of the theater companies of Arcinolether, Rabih Mroué, and Walid Raad. To investigate, to tell, and to question become the modalities of a scenic language. These narrative forms resemble art performance and call into question theatrical representation and acting. Deriving from a "dramaturgical documentary", contemporary theater in Lebanon performs on the frontier between reality and fiction. The elusive quality of the truth has political implications and renders porous the relationship between witness testimony and false document. In submitting the past to debate, do these imaginary realities allow us to mourn an interrupted history, to introduce a new way of looking at the past, or to trigger the "process of resiliency" ?
Tchernava, Irina. „Le cinéma de non-fiction en URSS : création, production et diffusion (1948-1968)“. Paris, EHESS, 2014. http://www.theses.fr/2014EHES0095.
The non-fiction cinema, which includes chronicles, documentaries, industrial and educative films is rarely studied as a professional area and as an object of specific political expectations. This studying carries on the daily fabrication of films in Soviet Union from the end of the 1940s till the Kossygin economic reforms in the second half of the 1960s. This work tries to shape up a social history of the soviet cinema industry by studying the professional practices of the film-makers in the Soviet socialist republic of Latvia and in the Sverdlovsk region. It concerns the transformations in film production and distribution by analysing territorial aspect, work conditions, shifting economic role of the non-fiction and materiality of the practices. The period is that of the strengthening of the professional autonomy and the film-makers try to distance themselves from the command whatever are its sources (social, political, industrial)
Boneva, Ralitza. „Réel et représentation à l'épreuve de la fiction dans l'oeuvre de Michael Haneke“. Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30072/document.
Our study suggests that during the last two decades, 1989-2009, with Michael Haneke's movies realized for the cinema, decisive innovations appear in the contemporary fiction. New forms upset the narrative, dispute the representation, and reveal what in the conventional fiction became stereotype. New reports between reality and representation, between visible, invisible and unbearable to see, between the instance of the statement and the spectator come into play. New possibilities open on the way to the development of the film fiction. They widen the possibilities for investigation of the reality on the screen
Montpetit, Caroline. „La chute des anges ; suivi de L'approche documentaire et la forme brève“. Mémoire, 2006. http://www.archipel.uqam.ca/2113/1/M9154.pdf.
Blanariu, Adina-Mihaela. „La vérité polyphonique : la problématisation théorique et pratique de la dichotomie entre fiction et documentaire, précédé du film YT Remix“. Thèse, 2015. http://hdl.handle.net/1866/14109.
This master’s study in research-creation is twofold. The first part, theoretical, refers to internal forms of fictionalization in documentary cinema, including the city symphonies Man with a Movie Camera (1929) by Dziga Vertov and Amsterdam Global Village (1996) by Johan van der Keuken. The second part, practical, is a Montreal city symphony, YT Remix, conceived as a special form of ekphrasis of the image of the world created by Yves Thériault in his novels. The most common documentary definitions indicate the non-fictional character of this cinematic genre, the absence of professional actors and the presentation of real events. These are, in essence, the principles enunciated by John Grierson in 1932, in First Principles of Documentary. In practice, we find that most major documentary works demonstrate the precarious boundaries between fiction and documentation of the real. As noted by Jean-Luc Godard, "All great fiction films tend towards the documentary just as all great documentaries tend toward fiction" (1985, p. 14). The possibility of fiction to reveal the truth is evoked at the end of the (fake) documentary F for Fake (1975). Quoting Picasso, Orson Welles concludes: "Art is a lie that makes us realize the truth." Johan van der Keuken, the filmmaker who has influenced us the most in the choice of our creation strategy (and to whom we devote a chapter in our master's thesis), has also addressed the question of the purity of cinematic genres. In an interview for the Cahiers du cinéma (1978), he considered the opposition between documentary and fiction as one of the biggest challenges he faced during film festivals registrations. In the same interview, the Dutch director stated that "every movie with a consciously elaborated form is, in fact, fiction" (Daney and Fargier 1978, p. 19). Thus, one of the leading questions in conducting our research-creation is about the accuracy of definition, rather reductionist, which excludes all fiction traces in documentaries.
Lefebvre, Alexandre. „Mise en scène du réel : l'œuvre vidéographique et cinématographique de Robert Morin“. Mémoire, 2008. http://www.archipel.uqam.ca/1108/1/M10260.pdf.
Gonzalez, Ricardo. „La pollinisation de la fiction avec la documentaire dans les années soixante et soixante-dix : quatre pays, quatre films, quatre approches distinctes“. Thesis, 2007. http://spectrum.library.concordia.ca/975543/1/MR34438.pdf.
Guzmán, González Jessica Belén. „L’engagement politique dans la collaboration polyphonique des publics à travers de l’i-Doc transmédia“. Thesis, 2020. http://hdl.handle.net/1866/25445.
Documentary practice finds new media beyond the cinema screen. Through these different channels, the documentary opens online and offline spaces for the construction of meaning through collaborators, the audience included. The transmedia documentary project Who is Dayani Cristal? was chosen to understand the resources of a project aimed at activism, in this case on migration issues. Within the framework of this research, this project will be analysed as an i-Doc through a multimodal methodology which make possible the discernment about the construction of meaning by the creators of the project as well as by the collaborators who participate in it. This co-construction of meaning mobilizes values that bring together participants who are not necessarily in the same geographical context, but they become a community within the framework of the polyphonic collaboration of this transmedial documentary. Through modal meanings and their functionalities throughout a non-fictional interactive project for political purposes, open spaces encourage co-creation of meaning providing the circumstances for audiences to engage in social change. Thus, the transmedia documentary and its interactive nature can motivate the meeting of participants who become aware of the need to act and mobilize themselves through a kind of political mimesis.
Lassu, Olivier. „Le film hybride : la voie d’un 3e genre“. Thesis, 2020. http://hdl.handle.net/1866/24304.
This Master’s memoir focuses on the border issue between documentary and fiction genres and its conception as a cinematic space for encounters, which could constitute a 3rd genre in itself. Genre that we propose to name hybrid. What justifies the persistence of the attachment to a reductionist binary system? Why do films that mix documentary and fiction approaches often meet with disapproval or negation of their duality? How to think about hybridity? What are the possible positive criteria and models for its election as a genre? This dissertation aims to analyze a rich corpus of films in order to identify how hybridity is constituted and also how it is perceived, both by film historians and thinkers, as well as by the media and the public. This study seeks to analyze cinematographic works grouped under four emblematic types, namely the mockumentary, the docufition, the docudrama and the so-called hybrid film, in order to identify the specific characteristics of these categories and to propose a model of hybrid film as a genre, in constructive and positive way. The creative component of this dissertation consists of a presentation file of a hybrid film project entitled The Legend of Tarō.