Dissertations / Theses on the topic 'Cinéma – Thèmes, motifs – Belgique'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Cinéma – Thèmes, motifs – Belgique.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Couturier, Louise. "Motifs esthétiques et imaginaires ancestraux : le cinéma des frères Dardenne et l'imaginaire social de Cornelius Castoriadis." Electronic Thesis or Diss., Paris 10, 2022. http://www.theses.fr/2022PA100013.
The Dardenne Brothers’ cinematography takes place in a very changing society. The economic crisis, the fading of industrial template, the beginning of the postindustrial area drive to a lake of landmarks. The Dardenne’s fiction films react against this loss of social significations. We can find in aesthetic patterns filled with ancient imaginary values. Those patterns are bound to a network of social and ancestral meanings. Those meaning values exceed their functional dimension. They carry meanings and uses coming from yore. They act like bridges toward their previous occurrences, which are myths, tales, holy scriptures, etc. We assume that those patterns are a way to resist disillusioning. Ancestral imagination comes in order to overcome the vanishing of social imagination. At this point, we can say that the Dardenne’s filmography deals with Cornelius Castoriadis’ socio-philosophy. The Greek philosopher of the twentieth century’s work is about social imagination and how societies exist thanks to a structural imagination. This preoccupation seems to reemerge in the Dardenne’s aesthesis as a guideline. Their images carry fictions bound to foundation stories. Which are able to federate people as a community. This cinematography revives ancestral imaginary. This collective memory strengthens the feeling of membership to the human community. The aesthesis pattern engages the imagination process. It joins the narration. As a matter of fact, those stories lead to the main characters’ consciousness as other people are human too
Aguirre, Sylvie. "Formes et aspects de l'invisibilité dans le cinéma classique." Montpellier 3, 2000. http://www.theses.fr/2000MON30038.
Kuhne, Joëlle. "Personnages d'eau au cinema essai d'analyse anthropofilmique." Strasbourg 2, 1999. http://www.theses.fr/1999STR20048.
Gombeaud, Adrien. "L'organisation de l'espace dans le cinéma coréen des années 80 à nos jours." Paris, INALCO, 2002. http://www.theses.fr/2002INAL0024.
Drame, Claudine. "Les représentations de la shoah au cinéma en France 1945-1985." Paris, EHESS, 2001. http://www.theses.fr/2001EHES0026.
Marsh, Patrick. "Le cinema irlandais contemporain : a la recherche d'une identite." Paris 3, 2000. http://www.theses.fr/2000PA030128.
Duarte-Simões, Teresa Cristina. "Carlos Diegues et la représentation de l'esclave au Brésil : Etude de "Ganga Zumba", "Xica da Silva" et "Quilombo"." Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10009.
Nuevo, Éric. "La configuration labyrinthique : le cinéma et ses sentiers qui bifurquent." Amiens, 2012. http://www.theses.fr/2012AMIE0001.
The feature of the maze captivates by the impenetrability of its mysteries and the deep impression that it generates on those who are seeking its meaning-"impression" has here to be understood both as "feeling" or "perception" and as "footprint" engraved in the mass spirit. This feature is well known: a sinuous pattern that one covers while wandering around, either fo fun or as a test. This work examines the way this feature, as we know it, spreads into several representations or patterns, and how these representations scatter into a corpus of movies in order to become a maze-shape. Furthermore, it aims at understanding how directors from different worlds put the pieces of a known, abstract shape together as if they were trying to reproduce a complex piece of machinery from its individual componants
Gerstenkorn, Jacques. "La Métaphorique dans le film de fiction : Les jeux de la ressemblance au cinéma." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0301.
Aubert, Alain. "Propositions pour une "scenaristique" : "l'intrigue scenarique"." Paris 3, 1996. http://www.theses.fr/1997PA030023.
The "scenaric plot" can be found in film scenarisation. In order to study it, we will situate scenarisation in cinema as a whole. Cinema is divided into ten sub-territories that determine the scenario. This will constitute the general environment of the plot. We can then subdivide scenarisation in eight polarities. Besides sources and investigation, we can distinguish : idea, problematic, scheme, character, plot, spatial organisation, timing and dialogue. This will constitute the specific internal environment of the plot. We will then validly deal with the analysis of the "scenaric plot". In the first place, it is made of matter of "contents", which can be seen as composed of "semantic basins" (from "law" to "destiny"). Secondly, it seems to conform to a same form of expression, or obliged ternary existential scheme (situation-action-situation). Then it comes out, thanks to its own matter of expression, not the characters, but four axis of interactions: socio-economical, strutural, dramaturgical, and socio-psychic. At last, it complies with certain modes of the form of expression (logic, credibility: dramatization, "satirisation"). We then can foresee a "scenaristic"
Lissarrague, Nicolas. "Peur et espace au cinéma." Paris 3, 2001. http://www.theses.fr/2001PA030065.
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.
Ionascu, michel. "Cheminots argentiques : l'image d'un groupe social dans le cinéma et l'audiovisuel français." Paris 3, 1999. http://www.theses.fr/1999PA030116.
Guerber-Cahuzac, Chloé. "Le corps réinventé : sens et enjeux de la modélisation du corps humain par le cinéma." Paris 3, 2003. http://www.theses.fr/2003PA030033.
Subordinated to the narrative, the body in cinema is often reduced to actions, to legible symbols. To reappear as itself, it must revolt against the rules of fiction and become "an opposing body. " This reinvention is governed by the analogical specificity of the medium. To distinguish the particularities of the filmed body and of its modeling, we evoke time-lapse photography, visual anthropology, sculpture, painting, and dance. Our aesthetic approach thus integrates historical, cultural, anthropological, and ethical dimensions. Then, four specific cases illustrate the construction of the body against the narration : the Keatonian character ; the Hollywood model resulting from censorship in the 1930s ; the motif of the fragmented body in the French cinema of the 1960s ; the exhausted body filmed by John Cassavetes. Little by little, concepts emerge to remind us that all reinventions of the body bring together a singular universe, a collective imagination, and the status of the medium
Tisseur, Pierre. "Coulisses : scénario original ; suivi de Condensation et déplacement dans l'onirisme au cinéma." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27548/27548.pdf.
Hellio, Jean-Michel. "L'ambivalence baroque : une esthétique picturale au service d'une représentation cinématographique." Caen, 2002. http://www.theses.fr/2002CAEN1355.
Beney, Christophe. "Le surgissement du désert dans le cinéma américain contemporain : 1991-2006." Amiens, 2010. http://www.theses.fr/2010AMIE0008.
Moine, Raphaëlle. "Représentations et fonctions des repas dans le cinéma européen des années 30 aux années 80." Paris, EPHE, 1994. http://www.theses.fr/1994EPHEA003.
In this thesis we draw certain conclusions from different ways of performing and the role of scenes shot at the dinner-table in European fiction films. This research paves the way for further study of how social rituals are directed in cinematography. First, we show how films use expression from the ritual system we called "meal-time" in works of fiction. Next, we study some films which do not use the linguistic potential of the table-scene to make sense, but which explain this convivial ritual in a mythical speech. In the final part, we study the metaphoric uses of the table-scene and in particular the relationship between culinary codes of practice and erotic codes of practice. This entire report helps us to understand the emergence during the 70's of new cinematographic speeches on the meal-time
Previti, Simona. "L'insularità e la creazione cinematografica : il cinema dell'isola e del deserto." Paris 3, 2005. http://www.theses.fr/2005PA030056.
The research deals with the topic of insularity in cinema, with particular attention to the connection between insularity and creation: the way in which space affects the director's view, the way of shooting, of creating images. The question of insularity is of primary importance in cinema: films set on islands are often innovating works. The notion of insularity has been analysed in relation to the topic of desert. The two dimensions are deeply related and very similar. The selected films display a real consideration on both the island and the desert space, in which the features of the space affected the film staging. The choice of an island and a desert is always very particular: through film analysis the research focused on how space affects the relationship between the director and the characters. Two typologies have been identified: the myth of an Eden where to shelter and the hell to escape from
Ansen, Selen. "Aux confins du corps : le monstrueux : (esthétique du corps et de l'informe dans le 7e Art." Strasbourg 2, 2001. http://www.theses.fr/2001STR20058.
Amy, de La Bretèque François. "L'Imaginaire médiéval dans le cinéma occidental." Paris 3, 2000. http://www.theses.fr/2000PA030140.
Kleinberger, Alain. "La Shoah : le cinéma aux limites de la représentation : the dark deadline." Paris 10, 2002. http://www.theses.fr/2002PA100135.
The Holocaust is a unique event that it is not possible to objectify. Of all the arts, film is the most closely associated with the presence of reality that it addresses. This study tries to understand what happens when the cinema takes as its theme a reality that is impossible to depict. It focuses first on French and American cinema between 1933 and 1944, investigating the screenplays, images, and their reception. It then proposes a general typology articulating the historiography of the Holocaust. Finally, it addresses the question of the limits in the representation of characters and of the historical reality, in the usage of conventions and in fiction itself. Throughout, it sketches a reflection on the analysis of films and invites other languages of art. Three films are the object of more detailed analysis: La dernière étape (W. Jakubowska, 1947), Un Spécialiste (R. Brauman, E. Sivan, 1999), Récits d'Ellis Island (R. Bober et G. Perec, 1979)
Delourme, Patrick. "Les formes de la fête dans un certain cinéma français des années trente." Lille 3, 2009. http://www.theses.fr/2009LIL30008.
The principle of a study of the forms of merrymaking in some kind of French cinema in the thirties takes root in a precise and special historical background : on the one hand, that of a prosperity disturbed by the economic crisis that the 1929 stock exchange crash generated, on the other hand by rising perils organized by the trimphant totalitarisms and dangers that threaten and jeopardize peace. So ironically the problematic of merrymaking is linked with that of war first as a portending event, second as the result of the decade, accomplished in the facts of the Second World War. Therefore, relection associates properly fictive an artistic gesture, merrymaking and a properly real historical situation, war. A kind of fatality which is indefinable and complex thus shrouds that periof of history and prescribes not only the emergence of a kind of tragedy, but also a resourced definition of that register, notably concerning what we could call "the daily tragedy". In that prospect, a first critical stake arises from a typology of merrymaking, related to family traditions as well as its social and civil manifestations. That approach will be the opportunity to cast a sometimes caustic look on social organization and its structures, but also on the validity of the links that bind the members of a family and whose merrymaking, which is supposed to perpetuate its existence and celebrate its harmony, sometimes reveals its inanity and its cruelty. To what extent, then, is family merrymaking a ritual, sacrificial forming that hand itself to social and moral deliquescence ? The comedy and the mockery that are characteristic those films would only be the adjoining aspects of an underlying but real tragedy. From that first aesthetical prospecting the social problem, favoured not only by the civil forms of marrymaking alluded to above, but also the background of the Popular Front and the demands that result. A new typology of merrymaking indeed rises from a social progress of which paid holidays are one of the most tangible signs. The French cinema then seizes a marcellous and pronouncing world, which is rich in sequences of cafes on the banks of the Seine or the Marne, popular balls during which the national hymn , popular songs are sung in chorus by an "enchanted" apparently "unison us" crowd. However, illusions do not last long and it will be shown, beyond the social cliché, that the cinema anticipates a return to reality through poetry of disenchantment that is characteristic of an inescapable setback. Indeed, merrymaking is no longer only a rejoicing movement or cheerful social manifestation, it thereof accounts for a lure that in fact redraws a suffering humanity, led into errors and the temptations that determine their intrinsic conditions, that of the invariants of human nature. So merrymaking stands out as a detour by which an already present, always present tragedy reveals a fate that inexorably catches up with his heroes and therefore contaminates the crowds. It then seems thet the property civil or historical meaning of marrymaking is overtaken by its movement in space and its setting as a superhuman world, made up of essentially poetic and transhistoric signs. The cinema of the decade would indeed reveel as much a view of man as the story of a generated confronted with the contingencies of history. From this disillusioned established fact then rises a last typology of merrymaking, fed with the world carnival and grotesque pantomine traditions. It is a question of exposing, through that show, the "defeat before the declaration" of war, in the prospect this time, of surpassing, social injustice the absurdity of its organization and ridiculing the incompetence as well as the selfishness of a rushing class. A worried, timorous time atmosphere which is true inspired by the "day's facts" gives way to the poetry of a masquerade, that of a world whose morals are overturned as a form and approach of a human truth. Consequently, the problematic of merrymaking is based on a chronological axis only what to surpass it, in favour of a modernity of its treatment, relasing for the festive not only what conceivable and eternal its contains, but also what is permanent and intangible in the prospect, this time, of a tragedy of permanence. Thus, tragedy, through the movement of merrymaking at the cinema, reconquers as modernized authority as a poetic form "more true than History"
Le, Flohic Claude. "Mythes et réalité dans le cinéma rural américain." Nancy 2, 1999. http://www.theses.fr/1999NAN21018.
Genet, Sophie. "Adolescence et cinéma : l'Amérique des années cinquante." Paris, EHESS, 1994. http://www.theses.fr/1994EHES0099.
The arguments developed in this thesis lean on cinematographics data and analyse how the phenomenon of adolescence appeared, simultaneously, in the american pictures and society of the fifties. Our general approach is based on two initial points : - the first one may be qualified as historical. It concerns the shocks endured by the american society when the wild one (1953), blackboard jungle or rebel without a cause (both in 1935) were projected. Effectively, these movies proposed an original vision of american youth, for they showed the violent and desorganised universe of an active and, up to this date, ignored social group. - the second point is sociological and must be related to the way that movies builded up the archetype and the stereotype of adolescence. Studying the passage from the pictures on adolescence to the pictures for adolescents, we explored the elaboration of a critical social thought
Kruth, Patricia. "Figures filmiques : les mondes new-yorkais de martin scorsese et woody allen." Paris 3, 2000. http://www.theses.fr/2000PA030138.
Symonnot, Nicole. "L'orgue, un singulier pluriel : approche de l'orgue à travers ses représentations dans la littérature et le cinéma européens depuis la fin du XIXè siècle." Paris, EHESS, 2001. http://www.theses.fr/2001EHES0004.
Archimandritis, Georgios. "Le mythe d'Orphée dans le théâtre et le cinéma du XXe siècle." Paris 4, 2000. http://www.theses.fr/2000PA040069.
Bouton, Laurence. "Les deux frères, les avatars d'un conte dans le cinéma américain des années 50." Paris 7, 2004. http://www.theses.fr/2004PA070074.
Brotherly rivalry (a common theme in tales) represents a good plot in many American films. To examine the genesis and expression of brotherly rivalry in the cinema, we concentrate our research on literature, religion, myths and American civilization. The study of the mythical origins of these two characters, of the religious symbolism they are associated with, and their evolution within literature helps us to understand the issues which are at stake when two opposing brothers are mentioned. Several films use the wealth of the brotherly rivalry in order to illustrate historical, cultural and social conflicts. Four characteristical films of this particular approach to the seventh art confirm this resurgence of ancestral archetypes in a contemporary context: “Duel in the sun” by King Vidor, “Sabrina” by Billy Wilder, “East of Eden” by Elia Kazan, “Home from the hill” by Vincente Minnelli
Dubus, Swann. "À la recherche de l'intimité cinématographique : le film intime en questions." Paris 3, 2006. http://www.theses.fr/2006PA030126.
What is intimate cinema ? Most of the studies about this subject don't make any differenciation between intimate cinema and intimacy on screen, considering that any private thematic in a film would make it intimate if it was shown in a public diffusion. But who can say for sure what is intimacy ? It is such a subjective notion. And we disagree that having a private subject in a film makes it intimate as sometimes it is just done to bring in more audience. We will rather look at original cinematographic forms, created by directors that put all their life into their films, in order to find a real cinematographic intimacy
Arnaud, Diane. "Figures d'enfermement dans les oeuvres de David Lynch et d'Alexandre Sokourov : perspectives esthétiques du cinéma contemporain." Paris 3, 2003. http://www.theses.fr/2003PA030141.
The process of confinement is bound to the notion of space in cinema : take the limitation of the image by the screen, or the fact that the spectator is held captive within the movie theaters. My aim is to show that this given confinement is in fact challenged by the moving picture itself. This research brings to light the potential of this confinement produced by the film on the spectator so that the spatial dimensions of the representation can be transfigured. Mystery films by David Lynch and cinematic essays by Alexander Sokurov are paralleled according to the following analytic progression : the scenography of confinement, the exploration of what lies within closed spaces, and the pictorial framing. Such spatial aesthetics entails the fantastical participation of the audience once the enclosure materialises. The study of borderline cases (Kiarostami, Hsiao-hsien, Von Trier) offers an historical perspective whilst reflecting on the spatial construction of closed diegetic worlds
Benmessaoud, Hamid. "La guerre d'Algérie dans le cinéma français." Toulouse 2, 1996. http://www.theses.fr/1996TOU20056.
The purpose of this work is the study as well as the analysis is of French films which, in one way or another, touch on Algeria war. This dissertation does not pretend to explore a subject which requires a dense thicket of commentary. It is about further reflexions on the way Algeria war and those who are fought in it were described by French films. In the light of the cinematographic art production. I will try to reveal an interest for Algeria and to determine some favorite topics for discussion in the cinema and especially in that historical period which stretched from 1954 to 1962. From the outset, I shall make a historical reminder of Algeria war in order to shed light on different events of that conflict and to have a good grasp of the French society as well as of the production of films related to that period. In the second chapter, my focus rests on the study of Algeria war in French film production. Under these circumstances, I will go over French films which evoke Algeria's entry into the war. So far as the rest of chapters are concerned, it will deal with topics which keep recurring in films studied
Goualle, Laurent. "Le drame judiciaire ou la représentation du procès dans le cinéma américain." Paris 3, 2001. http://www.theses.fr/2001PA030049.
Sanpere, Charlotte. "La désillusion dans le mélodrame et le film noir américain des années quarante et cinquante." Paris 3, 1994. http://www.theses.fr/1995PA030116.
This thesis is devoted to a socio-historical approach to cinema through a study of american film noir of the 1940s and 1950s, and of melodrama as a genre. The use by film noir of the melodramatic model is presented as a means of projecting a commentary, a point of view, which characterizes a set of meanings through which a society attempted to describe itself. Two specific qualities of film noire are singled out : its reference to a narrative genre (melodrama) and its expression of a particular feeling (disillusion). Melodrama is distinguished by multiple representations in time and space which remain linked to a specific formal core that determines its own relatively stable ideological content. Film noir, in using certain melodramatic figures and themes, assigns to them a different function. Disillusion is defined by freud, and allows two observation : the expression of a concept of the other (a relationship which is implied through the figure of the double and through repetition), and a specific disposition, created by the feeling of disillusion, toward belief
Cani, Isabelle. "A qui l'on en sert ? : modernisations du motif du Graal dans la littérature et le cinéma francophones et anglophones (1923 1994)"." Tours, 1998. http://www.theses.fr/1998TOUR2011.
How to define the grail motive in order to determinate a corpus? The use of the word "grail" is necessary, or at least a proper name related to the myth, except if those terms have only a metaphoric meaning. At first, a presentation of the 106 works of fiction picked out, revealing the variety of styles and cultural worlds, is followed by a possible classification of these works. The tendancies, fashions and historical stakes related to the grail are found out, from 1923 until nowadays. The authors' postulates and the religious, socio-political or psychological interpretations openly given of the grail in some of the works are pointed out. An interrogation is set on, about what the victorian, wagnerian or post- wagnerian 19th century has changed in our perception of the quest of the grail. How the contemporary authors are they dealing with such a mediaeval material as the quest of the grail? This implies three questions. How these contemporary works are they linked to the mediaeval stories? The answer is found in a reflexion about the medieval notion of "continuation" still existing nowadays. How can the quest of the grail be without knights? An investigation about the knight's image in the works shows that knighthood is often as ideal and unreachable as the grail. How to pass from our profane space and time to this mythic space and time necessary for the quest of the grail? Always distinct from ours, the other world is often closer than one thinks. From the contemporary works, four concrete images of the grail emerge, each one emblematic of a position towards it. Gold refers to the transcendant grail, silver to the negotiable grail, emerald to the evil grail, clay to the common grail. Unless the grail is the place of the conjonctio oppositorum. Finally the mythical aspect of the works is revealed from their conceptions of the quest, which is often impossible to bring to an end, however achieved sometimes
Crémona, Laëtitia. "Cinéma et histoire en Irlande de 1916 à 2000." Paris 3, 2004. http://www.theses.fr/2004PA030047.
This dissertation attempts to trace the reasons why history was such a crucial preoccupation in Irish cinema between 1916 and 2000. As it examines the relation between cinema and history alongside the historiographical debates in Ireland, it seeks to show how cinematic representations of Irish history evolved throughout this period. During the first half of the twentieth century Irish films mainly conveyed a mythic vision of Ireland's past, the aim being to legitimise the institutionalised national identity. From the 1970s onwards, in a double movement of openness and closure, historical films have under the influence of revisionist and postcolonialist theories challenged traditional representations while asserting the latter's relevance when it comes to rebuilding a new identity
Le, Corff Isabelle. "Les frontières dans l'oeuvre cinématographique de Neil Jordan." Rennes 2, 2001. http://www.theses.fr/2001REN20028.
Where does Neil Jordan's film art stand? Is it Irish or is it not? Neil Jordan seeks to reach the essence of his nation by means of an art form which is not traditional in Ireland. His films constitute a fresh approach to the country, breaking away from previously projected images of the island, and they are gradually leaving their mark in people's minds. His stories are full of the cracks that express a divided Ireland. The artist grapples the ghosts of Ireland's past and questions the inheritance of this torn country, since the past, even if it remains for ever out of reach, haunts the present. But while he rejects Catholic beliefs, even deeper-buried beliefs are vital to him. The quest goes on without conclusion. The crossing of frontiers becomes a fast-moving spiral. When he deals with the frightening energies of sexuality that shape human character, he takes us beyond known limits, making it necessary to go back to the original myths so as to question them and to dare to go beyond the level of love. The artist, like his characters, may often be poised on the fine line between order and chaos, in the no-man's land between art and madness. This is why the teritory he occupies is unique, other-worldly. Neil Jordan is the forerunner of a real Irish cinema. The question of wether his work does or does not belong to Irish cinema is therefore not valid. It has come to define this cinema. But the films undoubtedly exist outside the national boundaries. Neil Jordan is first and foremost an artist, and in second place he is Irish. He is an artist of Ireland and it is in this way that he expresses his belonging
Gaertner, Julien. "L'image de l' "arabe" dans le cinéma français de 1970 à nos jours." Nice, 2010. http://www.theses.fr/2010NICE2004.
This thesis is the result of several questions: what image of the "Arab" gives the French film? How it has evolved over the decades? What does this change in the perception of the French population regarding to the North African immigrants? To these questions are added other problems that this work tries to answer to. A question of identity proposed as follows: how the character of the "Arab" becomes French through movies, and if it becomes part of the nation, what kind of strangeness does he keep? This problem is joined by a second historical issue considering the appearance of leading roles in a very short time period: how did the archetype of the "Arab", build on a long time, has been broken after the emergence of large movie halls in the big cities’ suburbs? Through three distinct periods - a time of impregnation (1970-1982), a time of tension between openness and closure (1982-1995), then a time of peak from excluded characters to the movie stars (1995 -2009) - the thesis attempts to show, ultimately, how the North African immigration participate in the renewal of French cinema, becoming both his financial resources and symbolizes
Flayeux, Jean-Pierre. "L'amérindien et ses représentations cinématographiques : du mythe à l'anthropologie ?" Paris 3, 1996. http://www.theses.fr/1996PA030041.
As soon as christopher columbus discovered america, he described the native american but he miscontructed him, modified him according to his view, to his way of thinking. Those modifications have been established in writings, drawings, photographs and movies. Through an anthropological study, the indian and his different images will be analysed in order to understand how such a character could have been transformed to this level, how he gets reduced to some signs, to a couple of hints which erase all the other features. Only few tribes can be noticed in films in order to preserve this already mutilated image. Anyway, the audience would rather recognize than knowing it which makes the spectator dreaming even if the image is not genuine
Bauchet, Marie-Cécile. "La couleur dans le cinéma de Hal Hartley : les sources hollywoodiennes d'un langage chromatique filmique entre rêve et réalité." Toulouse 2, 2003. http://www.theses.fr/2003TOU20085.
Hal Hartley, an American film-maker, takes generic structures and turns them into something unique where colour, an essential visual ingredient, is a discourse on parody as well as a discourse on aesthetics. After having summed up the main scientific theories of light and colour, this work deals with the philosophical and aesthetic aspect of colour in general and considers the technical experimentations which gave birth to the first film in colour and the corresponding aesthetic trends. It analyses, through the study of a number of American films in black and white and in colour, chosen for their specific palette, the Gangster, the " Film Noir " and the Western which constitute the basic codes subverted by HAL HARTLEY's postmodernism. Beyond the realistic polychromy, the deconstruction of films aims at exploring the aesthetic power of colour, reaching pure abstraction, the blue, the red and the yellow springing from the moving image as from an Abstract Expressionist painting
Thomas, Erika. "Figures de l'étranger : construction des identités et du rapport à l'autre dans le cinéma brésilien." Paris 3, 2001. http://www.theses.fr/2001PA030070.
Makosso, Claude Giscard. "Le châtiment et la récompense dans les films de l'Afrique noire francophone : approches psycho-esthétique & socio-esthétique." Montpellier 3, 2007. http://www.theses.fr/2007MON30002.
While showing the recurrence of the concepts (punishment/reward) in the african universe, we tried to analyze the direction and the function of this set of themes starting from a film sampling. Our effort in the company of reading is an effort of interpretation and thus of creation from where the theory which we baptized: the châtirécompense. Studied works are varied and relate to the Xxème century with a stylistic analysis on West african realizers. By treating on the filmic level the religious fact and the social fact while raising the question of the direction, but also of the report/ratio to the monk, the tradition, with crowned. Certain events of film CEDDO make go up the memories with the conscience. One cannot say that that has nothing to do with the life. We could confront the psychoanalytical figures of the Jung and Freud with the topics of water, fire, the tree and the sund. By initially instrumentalisant the topics by assumptions (philosophical, moral, sociological, anthropological, ethnological and cinematographical) we then supported our reflexion by the analysis of the dialogues while elucidating so much is little, the images, the specific forms of accounts/tales of griots will bambara or mandingue and the essential truths contained in the myths and rites of certain filmic accounts
Baumann, Roland. "Georges Bataille et le cinéma." Paris 10, 2002. http://www.theses.fr/2002PA100150.
Nowadays, philosophy which has become lost among other discourses, is in the midst of dissolution. Confronted with the impossibility of analyzing the totality of the technical world, it is swallowed up by unawareness. While in the process of vanishing, it can only show the conditions of its own impossibility. Despite this pessimistic vision of the future of philosophy, we haven't resorted in our study, to scale down such a multiple and dissimilar work, as that of Bataille - which would be an act short of any philosophic signification - into a collection of biographical facts. Cinema plays a decisive role in the life and thoughts of Bataille. It has profoundly influenced his work. Above ail, we want to show this role, and in particular The Inner Experience and other writings of the Somme (so called Atheologic), as well as in the principal Posthumous Literary Works
Durey, Virginie. "L' Amérindienne dans la fiction hollywoodienne : entre vérité historique et prisme cinématographique." Angers, 2011. http://www.theses.fr/2011ANGE0014.
This doctoral dissertation deals with several research subjects, such as Cultural Studies, American history and cinema. In Hollywood cinema, and especially in westerns from 1895 until 2010, the representation of the American Indian woman tends to follow the American sociocultural changes during the twentieth century. However, American ideology, norms, conventions, ideals and values are dictating the eternal same portraits of American Indian women. Miscegenation is always forbidden, as evidenced in the death of most heroines at the end of westerns. Moreover, film directors standardize the "Pocahontas image" by universalizing exoticism and adding entertainement, thus confronting historical truth with cinematic distortion
Marcel, Philippe. "La poursuite au cinéma : pérennité d’une forme esthétique." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030065/document.
The Notion of Chasing has been part of cinema life from the very beginning, so much so that it has almost become an archetypal form. It was the principal method of moving the plot forward in short films when cinema began and remained a normal method of structure for feature-films. The presence, or absence of chasing whether in a related form such as tailing someone or on foot, is an extremly interesting element of film characterisation. The condition of its elaboration and of reception must be put back into context and studied with the perspective of the history of the form. Studying the importance given to chasing by four French film directors of different eras, Louis Feuillade, René Clair, Jean-Pierre Melville et Philippe de Broca, will bring out the form’s perennity. Likewise comparing the director’s management of such scenes, especially since these four can on occasion seem like opposites, enables one to use chasing as an differentiating criteria that is particulary important when bringing out the value, both symbolic and intrinsic, of this form as an aesthetic and anthropological form
Pommer, Mauro Eduardo. "La question du point de vue dans le récit cinématographique." Paris 1, 1996. http://www.theses.fr/1996PA010562.
Chamkhi, Sonia. "La problématique de l'enfermement dans le cinéma tunisien des années 1980-1995." Paris 1, 2000. http://www.theses.fr/2000PA010681.
Manenti, Paul. "Image de l'artisan dans le cinéma documentaire français des origines à 1960." Paris 3, 2002. http://www.theses.fr/2002PA030047.
The craftsman's image in the French documentary cinéma from the origins to 1960 was approached from : - a bibliographical research of the events (technics, législatives, sociologicals, économicals) which have highligthed the French documentary cinéma as well as the history of the French craftsmen all along this périod of time, - The analysis of two thousend movies which have lay the stress upon : - The formal recurrent elements (space, commentary, scriptwritering, music, noise, editing, scales and values ground, oints of view, special effects, use of documents, poetry) - The permanent elements of the contents (the workshop, the social organization, the technique, the spirit of the work, the hand, the tool, the gesture, the registration of the work in the duration, the report to the past, the modernity, the craft and the industry, pedagogy and learning, propaganda, greatness of France, uniqueness of the production, artisan and artist, symbolism and religious connotions, relation to nature, mystérious knowledge, birth of the pièce of art. . . ). .
Lee, Jeong-Ha. "La notion d'"intervalle" dans le cinéma de Jean-Luc Godard." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0014.
Our research deals with the idea of editing, "interval". Such a notion was conceived by the Russian director Sziga Vertov in the 20's in order to "reveal the image of the thoughts of the living human being". Fundamentally, the interval is establishing itself as the "time editing". It is updated on the mere surface of the images by being put in continuous interaction in order to create another ida in the "non interrupted editing". The same process of a thought in image, "interval", is to be found in the movies made by Jean-Luc Godard, in particular in his films-essays from the 70's until "History(ies) of the cinema". First, Godard's idea of "And" and "Between" seeign as an invisible link between heterogeneous things is indeed the recapitulation of Vertov' notion of an "interval" but its is translated, recreated in the reflection of a creative time. Secondly, the "fiction" in Jean-Luc Godard's cinema does not mean anything else vut the actualisation of the vital strength between the images, realised through this "time editing", "And" or "interval". And thirdly, this way of editing is also able to create the "history" of the cinema, based on our faculty of "memory" realised also in the "onon interrupted editing". Finaly, this notion of editing, "interval", characterises the inherent movement of any creative thinking
Hollander, Régine. "L'image de la société américaine dans les films à succès de Hollywood, 1985-1994." Paris 4, 1996. http://www.theses.fr/1996PA040112.
What image of American society does Hollywood project? To answer this question, 99 blockbusters, produced between 1985 and 1994, have been analysed for their genre, their tone and their themes, all of which are drawn from the fads, myths and tends of thought which characterize America at the end of this century. Indigenous American genres, such as the western, the cartoon, or the musical, have been grafted onto others, creating a new identity for commercial films which directly addresses the audience's collective unconscious. The plots increasingly depart from the rational and venture into the supernatural and a fictional world of science. Spiralling around the personality of a central actor who provides his interpretation of the classic American hero. The tone of these films attempts to be realistic. The vocabulary is usually colloquial and often profane. Violence is graphic, sex explicit, though prefrontal or total nudity seldom makes an appearance. One could easily conclude that censorship has all but disappeared. However, it has merely taken another form: the unswerving observance of the tacit rules governing the politically-correct American society. The identity crisis in the United States, which followed the post-war years of economic prosperity and the defeat in Vietnam, are reflected in Hollywood’s blockbusters. These films reveal the fission of the nuclear family, and the incessant duel between solitary heroes and corrupt or ineffectual social and political institutions. The right to succeed and the pursuit of happiness are accompanied by societal duties, such as the defence of democratic principles. A determined individual who believes in god, America and himself, always defeats evil. The deformed image of American society projected on the screen by the blockbusters bears testimony to the fact that the American dream, in all its mythical splendour, is alive and well, and thriving in Hollywood