Relevant bibliographies by topics / Spectacle violence

Academic literature on the topic 'Spectacle violence'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Spectacle violence"

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Tran, Jeanette Nguyen. "“Or Else Were this a Savage Spectacle”: the Narrative Possibilities of Spectacle in I Tamburlaine." Explorations in Renaissance Culture 46, no. 2 (December 18, 2020): 111–34. http://dx.doi.org/10.1163/23526963-46020002.

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Abstract This essay examines representations of violence in I Tamburlaine. In the play, Marlowe weds Tamburlaine’s desire for recognition to brutal spectacular violence and attunes audiences to the normative violence that recognition entails for the vulgar or common classes to which Tamburlaine, a poor Scythian shepherd, belongs. In a world that marks certain bodies, social classes and even names as unworthy of certain kinds of recognition, the creation of bloody spectacles, such as the slaughtering of the virgins of Damascus, becomes Tamburlaine’s only means to gain political visibility. By yoking Tamburlaine’s ascendance and eventual triumph to his increasingly effective use of spectacle, Marlowe’s I Tamburlaine makes a case for the narrative possibilities of spectacle to make a life like Tamburlaine’s both visible and compelling.
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Ward, Megan. "Walls and Cows: Social Media, Vigilante Vantage, and Political Discourse." Social Media + Society 6, no. 2 (April 2020): 205630512092851. http://dx.doi.org/10.1177/2056305120928513.

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Vigilante groups in the United States and India have used social media to distribute their content and publicize violent spectacles for political purposes. This essay will tackle the spectacle of vigilante lynchings, abduction, and threats as images of vigilante violence are spread online in support of specific candidates, state violences, and election discourse. It is important to understand the impact of not only these vigilante groups, but understand the communicative spectacle of their content. Using Leo R. Chavez’s understanding of early 2000s vigilante action as spectacle in service of social movements, this essay extends the analysis to modern vigilante violence online content used as dramatic political rhetoric in support of sitting administrations. Two case studies on modern vigilante violence provide insight into this phenomenon are as follows: (1) Vigilante nativist militia groups across the United States in support of border militarization have kidnapped migrants in the Southwest desert, documenting these incidents to show support for the Trump Administration and building of a border wall and (2) vigilante mobs in India have circulated videos and media documenting lynchings of so-called “cow killers”; these attacks target Muslims in the light of growing Hindu Nationalist sentiment and political movement in the country. Localized disinformation and personal video allow vigilante content to spread across social media to recruit members for militias, as well as incite quick acts of mob violence. Furthermore, these case studies display how the social media livestreams and video allow representations of violence to become attention-arresting visual acts of political discourse.
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Friis, Simone Molin. "‘Behead, burn, crucify, crush’: Theorizing the Islamic State’s public displays of violence." European Journal of International Relations 24, no. 2 (June 19, 2017): 243–67. http://dx.doi.org/10.1177/1354066117714416.

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The militant group known as the Islamic State has become notorious for its public displays of violence. Through slick high-definition videos showing beheadings, immolations and other forms of choreographed executions, the Islamic State has repeatedly captured the imagination of a global public and provoked vehement reactions. This article examines the Islamic State’s public displays of violence. Contrary to the public constitution of the Islamic State’s violence as an exceptional evil, the article argues that the group’s staging of killings and mutilations is not an unprecedented phenomenon, but a contemporary version of a distinct type of political violence that has been mobilized by various political agents throughout centuries. However, what is new and significant about the Islamic State’s choreographed executions is the public visibility of the acts and the global spectacle that the group has created. Thus, if the Islamic State is introducing a new dynamic in global politics, it is not a new form of violence or brutality, but rather a transformation of how spectacles of violence unfold on the global stage. Subsequently, the article highlights three dimensions of the Islamic State’s public displays of violence that have facilitated the creation of the global spectacle: the Islamic State’s technological skills and professional use of media ( technology); the Islamic State’s mobilization of acts of violence that transgress prevailing sensibilities ( transgression); and the violent acts’ function as not only a form of terror, but also an integral element of a state project and a visual manifestation of an alternative political order ( politics).
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FINBURGH, CLARE. "‘Violence without Violence’: Spectacle, War and Lola Arias'sMINEFIELD/CAMPO MINADO." Theatre Research International 42, no. 2 (July 2017): 163–78. http://dx.doi.org/10.1017/s0307883317000281.

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If spectacles are effects of power, designed to win wars, win elections and win customers, then how can these spectacles be better understood, so that we can better understand how they seek to work on us and others around us? And what part can theatre play in developing this understanding? In this article I explore Jean-Luc Nancy's notion of ‘violence without violence’, as set out in his essay ‘Image and Violence’ (2003). The synthesis of life's variety and disarray into an artwork is a violent act for Nancy. But if this violent act itself explodes the very seams which hold it together, it can enable ruptures or openings that prevent its violence from becoming ideologically oppressive. In this way the image inevitably participates in the ‘violence’ of representation, but simultaneously avoids the ‘violence’ of ideology. By way of an example I analyse the singular ways in which Lola Arias's productionMINEFIELD– first staged at the Brighton Festival in 2016 before transferring to the Royal Court Theatre during the London International Festival of Theatre (LIFT) – disarticulated the spectacles of power, heroism and virtuosity that are often weaponized by leaders and by the dominant media for the purposes of fighting and winning wars.
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Rothe, Dawn L., and Victoria E. Collins. "Consent and Consumption of Spectacle Power and Violence." Critical Sociology 44, no. 1 (December 24, 2015): 15–28. http://dx.doi.org/10.1177/0896920515621119.

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This article focuses on the facilitation, consent and consumption of state violence, as an aspect of the state’s hegemonic control in the current stage of neoliberal capitalism. We suggest that the commoditized symbols of state violence are a part of everyday life for millions within the United States and are embedded within ideologies of nationalism–national security, supported and reinforced through consumerism. The consumption (figuratively and literally) within the confines of neoliberalism is disconnected from the actual course of state violence, facilitating their own pacification while giving consent to hegemonic control. In this sense, the population’s consumption becomes more than pacification and consent, but rather an active constituent in the production and reproduction of state violence: making it the accepted and banal violence of the spectacle.
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Cino, Carina Sarah. "The Spectacle of Death." General: Brock University Undergraduate Journal of History 3 (December 18, 2018): 55–76. http://dx.doi.org/10.26522/gbuujh.v3i0.1689.

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This paper discusses death in Renaissance Europe as a specactle of public punishment. With particular focus on capital punishment in various cities in Italy, this paper argues that public executions were meant as a sign of state power, utilized to control the general public. The ways in which executions were used by both state and community are explored in depth, justifying the connection between power and public violence.
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Faber, Alyda. "Saint Orlan: Ritual As Violent Spectacle and Cultural Criticism." TDR/The Drama Review 46, no. 1 (March 2002): 85–92. http://dx.doi.org/10.1162/105420402753555868.

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The French performance artist's practice of self-directed violence creates a spectacle that violates the viewer and establishes Orlan's body as “a site of public debate.” Her work radically exposes the violence of patriarchically established “beauty standards.”
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Gori, Roland. "La violence technocratique de nos sociétés du spectacle." Le Journal des psychologues 387, no. 5 (April 22, 2021): 34–39. http://dx.doi.org/10.3917/jdp.387.0034.

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Puncer, Mojca. "Crisis, violence and hope in the global spectacle." Maska 31, no. 181 (December 1, 2016): 6–19. http://dx.doi.org/10.1386/maska.31.181-182.6_1.

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The analysis of selected works of the 56th Venice Biennale places these works in contemporary social reality and reflects on the importance of contemporary curating practices. The paper finds that the 56th Biennale has demonstrated a diminishing faith in progress and in the weakening emancipatory power of art. At the same time, it has also undermined the domination of the Western view because the exhibition began to open to non-European perspectives, too.
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Wright, M. "The Spectacle of Violence in Laylah Ali's: Greenheads." Nka Journal of Contemporary African Art 2001, no. 13-14 (March 1, 2001): 114–19. http://dx.doi.org/10.1215/10757163-13-14-1-114.

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Dissertations / Theses on the topic "Spectacle violence"

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SCHITTINO, RENATA TORRES. "TERRORISME: LA VIOLENCE POLITIQUE COMME SPECTACLE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7680@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Ce travail propose établir une explication pour le terorisme en considérant que ce n´est que dans la contemporanité que cette manifestation se développe en tant qu´une politique autonome. A partir des annés 70, il est possible de constater l´éclosion d´attentats terrorristes ayant l´intention d´intervenir dans le processus historique à travers une violence haussé à la catégorie de spectacle. En analisant la constitution fondamentale du terrorisme - contenu politique et forme spectaculaire -, on remarque le caractère anachronique de cette manifestation face à la societé démocratique soi-disant pacifiée. En observant l´ambiguïté de la diffusion des images comme des marchandises-entretiens - on révèle la difficulté de réalisation des prétention révolutionnaires du terrorrisme. La concrétisation politique de cette manifestation sera retrouvée dans les possibilités ouvertes par la divulgation des images de violence qui se composent, non pas comme une alternative au système en vigueur, mais comme un lieu contemporain de rèsistance à la réalisation de l´histoire.
O trabalho propõe estabelecer uma explicação para o terrorismo, considerando que apenas na contemporaneidade essa manifestação se desenvolve como política autônoma. A partir da década de 1970, é possível constatar a ocorrência de atentados terroristas que pretendem intervir no processo histórico através da violência elevada à categoria de espetáculo. Analisando a constituição fundamental do terrorismo - conteúdo político e forma espetacular -, nota-se o caráter anacrônico da manifestação diante da sociedade democrática pretensamente pacificada. Observando a ambigüidade da difusão de imagens de violência, que ao mesmo tempo coloca em evidência uma determinada causa política e vende as imagens como mercadoria- entretenimento, revela-se a dificuldade da realização das pretensões revolucionárias do terrorismo. A efetividade política dessa manifestação será reencontrada nas possibilidades abertas pela divulgação das imagens de violência; compondo- se não como alternativa ao sistema vigente, mas como o lugar contemporâneo de resistência à realização da democracia.
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Boscarin, Bórax Leonardo Andrés. "The spectacle of masculinites : violence and modernity in the Mexican melodrama of the Golden Age." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579580.

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Film critic Jorge Ayala Blanco observed that, despite the fact that the depiction of violence was key to the popularity of the Mexican cinema of the Golden Age (1940-50), its representation was never approached 'seriously' (1968: 164). This suggestion has encouraged me to pursue an interrogation of the role of violence in the cinema of the era. Its origins can be located in the revolutionary conflict of 1910, that established the relation between violence and masculinity as inseparable, as the emphasis on the macho stereotype as incarnated in the figure of the bandit/hero demonstrates. This model of masculinity was put into question in the 40s when, due to the economic and cultural influence of the United States, it became necessary to civilize the excesses of proletarian masculinity. Through an analysis of the actors Pedro Arrnendariz, David Silva y Pedro Infante, my research explores the ways in which the Mexican cinema presented 'different ways of being 'a man' (King 2003: 149) during this period. My contention is that the masculine models that were offered through the image of these actors, helped to negotiate strategies to appease the transit from the last revolutionary experiments of cardenismo (1934-40) to the consolidation of the capitalist model in the Manuel Avila Camacho sexenio (1940-46). Apart from Infante, none of these actors have previously been the object of a detailed analysis. The focus of my argument is unique too, in locating masculinities at the intersection of violence, modernity and melodrama. My analysis privileges the idea of a plurality of masculinities (Connell 2005) and the concept of 'charisma' (Dyer 1998) to analyse the melodramatic excess incarnated in the 'spectacle of manly honour' (Parra 2005: ) - a concept that can be understood as seeking to capture the moment in which, because of the loss of political and social meaning, manifestations of violence become the object of cinematographic voyeurism. Sequn el critico Jorge Ayala Blanco (1968: 164) la representaci6n de la violencia en el cine mexicano de la Edad de Oro (1940-50) nunca fue abordada 'seriamente', a pesar de que esta a la base de su popularidad. Este comentario me estimulo a interrogarme acerca del rol de la representacion de la violencia, a cuyo origen puede colocarse el conflicto revolucionario de 1910. En este contexto, la relacion entre violencia y masculinidad es inseparable, como demuestra el enfasis en el estereotipo del macho encarnado en la figura del bandido/heroe. Este sera puesto en discusion en los arios cuarenta, cuando se haga necesario civilizar los excesos de la masculinidad popular debido a la influencia economica y cultural de Estados Unidos. A traves del analisis de los actores Pedro Armendariz, David Silva y Pedro Infante, mi investigacion explora la manera en que el cine mexicano represento las 'diferentes maneras de ser un hombre' (King: 149) durante este periodo. Mi tesis es que los modelos masculinos propuestos a traves de la imagen de estos actores contribuyeron a negociar las estrategias para transitar desde los ultirnos experimentos revolucionarios del cardenismo (1934-40) hasta la consolidacion del modelo capitalista a partir del gobierno de Manuel Avila Camacho (1940-46). Aparte del hecho de que ninguno de los actores mencionados ha recibido un analisis detail ado a excepcion de Infante, el enfoque de esta investigacion es unico por colocar las masculinidades en la interseccion de la violencia, la modernidad y el melodrama. Mi analisis privilegia la idea de una pluralidad de masculinidades (Connell 2005) y el concepto del carisma (Dyer 1998) para analizar el exceso melodramatico encarnado en el 'espectaculo del honor masculino' (Parra 2005), que puede entenderse como el momento en el cual las manifestaciones de la violencia se vuelven objeto del voyeurismo cinematografico, al perder su sentido politico y social.
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Barefoot, James Collin. "Sleight of Hand: Violence as Performance and the Spectacle of Absence in the Southern Cone." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/560936.

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I explore the changing use of political violence by the new Latin American military regimes, specifically post-1976 Argentina with comparative analysis towards Augusto Pinochet’s Chile, as well as by those who protested military authoritarianism during the Dirty War and Operation Condor. These military dictatorships adopted aggressive anti-communist ideologies and displayed them through internal, covert violence. In this study, I adopt definitions of the 'spectacle of violence' and the 'spectacle of absence' that seek to explore the politics of diplomacy behind violent acts that have informed the processes of staging, or hiding, both the methods and outcome of inflicted violence. Geopolitics of the post-human rights legislation era and the Argentine military’s perception of a failed judicial system fostered the institutionalization of a new violent performance, the spectacle of absence, in opposition to the guerrillas' application of the public spectacle of violence. My analysis of violent spectacles within Argentina and their reception at home and abroad displays the various meanings transmitted and received through the medium of political violence as performance.
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Huebenthal, Jan. ""Quick! Do Something Manly!": The Super Bowl as an American Spectacle of Hegemonic Masculinity, Violence, and Nationalism." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539626707.

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Hatch, Kevin. "With great power comes no responsibility : reflexive ideology through spectacle-violence in the superhero films of Marvel Studios." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/47092.

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This work critically interrogates the superhero films of Marvel Studios and their textual treatment of, and the ideological function of, violent action spectacle. In Chapter One, I trace a chronology of superhero films and their corresponding treatment of violence, up to the onset of Marvel Studios, and the release of Jon Favreau’s Iron Man in 2008. I argue that Marvel superhero films respond to the genre’s previously tenuous treatment of spectacle-violence in the face of 9/11 and other instances of sociopolitical violence. Instead, Marvel Studios reappropriates action-violence interludes as ‘safe’ sites for audience enjoyment, undiminished by sociopolitical reflection. In doing so, Marvel crafts a brand identity of ‘reflexive wit,’ further integrating comedy into action sequences, and foregrounding provocative, yet superficial, sociopolitical commentary. In doing so, the Marvel films discourage audience preoccupation with the politics or ethical ramifications of spectacle violence. The films court the sense that, through such reflexivity, no further reflection is necessary, allowing audiences to unrepentantly enjoy the action violence. In Chapter Two, I explore the narrative techniques employed in Marvel films to foster viewer connection with their superheroes. I argue that the Marvel films draw upon a blend of comic book textual references, mythic intertexts, and pathos and humour, to court a dichotomy of ‘mythic accessibility,’ coding their heroes as sympathetic, valorized, sanctioned, ‘acceptable’ agents of violence. As such, Marvel utilizes violent action spectacle to mediate dominant cultural ideologies. In Chapter Three, I discuss the resonance of this support for the heroic protagonist, arguing the Marvel films thematically perpetuate textual ideologies of deference and unquestioned subservience. Such ideological resonance extends not only to exceptional superheroes, but to the political superstructures they are affiliated with, which are, by proxy, equally valorized (namely, the United States military and NSA, by means of surrogate entity, ‘S.H.I.E.L.D.’). Ultimately, I argue that the Marvel films purportedly privilege an active audience, but subliminally endorse a passive, unreflective one. This allows for textual amplification not only in regards to the scope and intensity of spectacle violence and action combat, but the political intertexts ideologically mediated through said action sequences, rebranded as unreflective ‘fun.’
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Ward, Katherine. "Tracing the heroine in masculine spectacle : gender, technology, and the role of the destroyer in recent American film." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56771.

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This thesis explores the changing relationship of power, technology, and gender in recent Hollywood films. Beginning with ideas of gender "truths" in philosophical thought, I posit that the representation of violence is inseparable from the notion of gender, and that ideas of gender are always historically specific.
I examine masculinity and aggression in Vietnam films, arguing that masculinity must struggle to renew its privilege and its illusion of purity.
Finally, I examine combat roles for women where the heroines have accessed "male" technology to become subjects of the social act. I conclude that these representations offer a possible female subjectivity and resistance to patriarchal assimilation only when the ambivalence and fragility of that subjectivity is recognized.
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DeSoto, Barbara Luisa. "Violence, Transcendence and Spectacle in the Age of Social Media: #JeSuisCharlie Demonstrations and Hollande's Speech after the 2015 Terrorist Attacks." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6472.

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This study examines the reactions — both in real life and on social media — to two terrorist attacks in Paris: satirical magazine Charlie Hebdo in January 2015 and the Bataclan shooting in November 2015. Using Richard Sennett's Fall of Public Man and Antonin Artaud's Le théâtre et son double to explore these reactions as theater, this approach reveals the religious nature of supposedly secular reactions to religious extremism.
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Vaou, Elena. "Le spectacle de la mort dans les tragédies d'Euripide : de la fabrication des émotions à travers les mots." Paris 7, 2008. http://www.theses.fr/2008PA070038.

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II n'existe pas de mort naturelle dans le théâtre d'Euripide et il n'est pas de tragédie euripidéenne sans mise à mort violente. À partir de l'étude du vocabulaire que le poète emploie afin de créer la mort de ses personnages, nous découvrons un monde spectaculaire et émotionnel, fondé sur la tradition orale et allant bien au-delà de cette dernière ; un univers rituel, honorant Dionysos, mais acheminant la fête religieuse vers une nouvelle forme de communication : la performance théâtrale, Un ensemble de codes crée sur « scène » des meurtres sanglants, des sacrifices et des mises à mort imaginaires touchant souvent les frontières de l'inhumanité. Toutefois, cette nouvelle institution de la violence ne pourrait pas se produire scéniquement sans l'exploitation visuelle et sonore d'une pléthore d'éléments. Car, la tragédie d'Euripide n'est pas qu'un texte écrit. Son théâtre est rempli de couleurs et de sons, d'effets spéciaux exigeant une attention particulière. Ces éléments mettent le texte en mouvement et permettent à la tragédie de se distinguer des autres formes de discours anciens qui nous sont parvenus. À partir du sujet de la mort, l'étude des multiples facettes de ce phénomène religieux et théâtral permet la mise en valeur non seulement de sa langue précise et signifiante, mais aussi de sa scénographie, de sa musique et de sa cosmologie, toutes étroitement liées à la plus subtile des ingéniosités humaines : la fabrication des émotions
There is no natural death in Euripides' theatre and there's no Euripidean tragedy without violent killing. By taking a look at the poet's vocabulary used to create its characters' deaths, we discover a spectacular and emotional world, founded in oral tradition and going beyond it. A ritual universe, honoring Dionysus, guides the festival towards a new form of communication: theatre performance. A compilation of codes creates bloodstained murders, sacrifices and imaginary killings on "stage", often touching the borders of inhumanity. However, this new institution of violence could not be produced in a theatrical way without the visual and musical exploitation of a plethora of elements. Hence, Euripides' tragedies are not only written texts. Its plays are full of colors, sounds and special effects requiring our attention» These elements put the text into motion, distinguishing tragedy from other forms of ancient discourses, Activated by the subject of death, the study of different faces of this religious and theatrical phenomenon, makes it possible not only to appreciate its precise and significant language, but also gives insight on its stage settings, its music and its cosmology, all of which are related to the most subtle of human ingenuities: the fabrication of emotions
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Oprea, Alina-Gabriela. "Le système de la politesse confronté aux défis du talk-show : Politesse, impolitesse et a-politesse à l’épreuve du spectacle et de la violence dans "On n’est pas couché" et "Tout le monde en parle"." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20088.

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En linguistique, la politesse vise la préservation de l’harmonie interactionnelle. Que se passe-t-il dans les situations où le dissensus se trouve au cœur des échanges, tel le cas de nos talk-shows ? Le rôle de l’impolitesse, de la violence et leurs rapports à la politesse dans On n’est pas couché et Tout le monde en parle ont constitué le point de départ de notre recherche. Le présent travail est une analyse du système de la politesse confronté aux défis des émissions mentionnées, défis qui nous ont amenée à explorer la dichotomie politesse-impolitesse et qui nous ont conduite à articuler ces dernières avec les notions d’adéquation au contrat de communication, de violence et de mise en scène.Afin de rendre compte du fonctionnement de ces phénomènes, deux démarches nous ont semblé nécessaires. Premièrement, abandonner la conception selon laquelle la politesse désignait les comportements jugés adéquats et l’impolitesse était conçue comme sa « contrepartie » négative. Deuxièmement, tenter de « re-conceptualisation » la notion d’adéquation aux normes tout en allant au-delà des classements rigides et des formules conventionnelles polies ou impolies.Partant de ces réflexions, nous nous sommes fixé une double ambition : dans le premier volet, nous avons voulu aménager le cadre théorique de la politesse ─ qui, appliqué à notre corpus, présentait certaines insuffisances ─, et formuler des critères pour l’évaluation des notions présentées. Ainsi, nous avons proposé, avec prudence et modestie, un cadre et des outils théoriques adaptés à nos talk-shows. Dans le second volet, nous avons analysé ─ manipulant les outils présentés et nous appuyant sur ce nouveau cadre ─, le fonctionnement du système de la politesse ainsi que les mises en scène de la parole polie, impolie et violente
In linguistics, politeness, considered omnipresent, aims at preserving the interactional and interpersonal harmony. But what happens when conflict is at the very heart of verbal interactions, as is the case with our talk-shows? The role of impoliteness and violence, as well as their relationship with politeness in “On n’est pas couché” and “Tout le monde en parle” are to be considered as the starting point for our research. Thus, the present work is an analysis of the notion of politeness confronted to the “challenges” raised by the televised shows mentioned above, an analysis in which we explored the politeness/impoliteness dichotomy that we articulated, thereafter, with the notions of appropriateness (in respect to the communication contract), violence and representation or “mise-en-scène”.In order to give a proper account of the functioning of these phenomena, firstly, we gave up the general view according to which politeness was defined as adequate behaviour while impoliteness was seen as its negative counterpart. Secondly, we tried to reconceptualise the notion of appropriateness going beyond rigid classifications or conventionalised polite and impolite formula.Given these considerations, we established a twofold objective. On the one hand, we tried to adjust the theoretical framework of politeness that, applied to our data, presented certain deficiencies, and to come up with some evaluation criteria for the analysed notions; consequently, we modestly and prudently proposed a framework and several theoretical “tools” adapted to our talk-shows. On the other hand, we analysed ─ using the presented tools and framework ─, the mechanisms of politeness and impoliteness as well as the divers “mises-en-scène” of polite, impolite and violent speech
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Armand, Christiane. "Violence, émotion, fascination : Les relations du son et de l’image dans les pratiques plastiques récentes." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3012/document.

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Dans cette thèse, il est question d'interroger la relation entre le son et l'image dans les pratiques plastiques actuelles à partir de travaux majoritairement vidéographiques et de tenter de déterminer comment cette articulation est un vecteur de violence, d'émotion, de fascination mais également comment elle s'inscrit dans le contexte de l'émergence de la pensée, du déplacement du sens et de la réception de l'oeuvre par le spectateur. Ces rapports entre le visuel et le sonore sont dégagés au fil des vidéos rencontrées et une analyse à caractère plus spécifiquement monographique est menée à partir des oeuvres d'Ange Leccia produites de 1982 à 2013 et celles de Douglas Gordon réalisées de 1990 à 2008. Une partie de cette étude est également consacrée à faire émerger la problématique du travail vidéographique de l'auteur de cette thèse en lien avec la thématique abordée. En dernier lieu, une analyse comparée met en regard les pratiques d'Ange Leccia, de Douglas Gordon, celles d'artistes contemporains ainsi que celles de l'auteur de ce texte en privilégiant les liaisons du sonore et du visuel dans les travaux plastiques réalisés à partir du réemploi d'images d'archives, de films cinématographiques et l'utilisation de chansons populaires
The purpose of this thesis is to investigate the relation between sound and image in the actual artistic works and especially from video art and to try to determine how this linkage provides violence, emotion, fascination but also how it comes within the scope of the contest of the thinking emergence, the meaning shifting, the work reception by the public. These links between visual and sound parts are brought out from videos coming across the discussion thread and a more specifically monographic analysis is drawn from the Ange Leccia's artistic work producted from 1982 to 2013 and Douglas Gordon's one realized from 1990 to 2008. One part of this study is also devoted to the videographic work problematics of the author of this thesis with respect to the theme involved. Lastly, a comparative analysis puts in a position to question the artistic practice of Ange Leccia and Douglas Gordon, of contemporary artists and the work of the author of this text favouring the relation between sound and image which relies on artistic work based on the sampling of archives, of movies and the use of popular songs
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Books on the topic "Spectacle violence"

1

Gladiators: Violence and spectacle in ancient Rome. Harlow, United Kingdom: Pearson Education Limited, 2008.

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Lichtenfeld, Eric. Action speaks louder: Violence, spectacle, and the American action movie. Middletown, Conn: Wesleyan University Press, 2007.

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Lynching and spectacle: Witnessing racial violence in America, 1890-1940. Chapel Hill: University of North Carolina Press, 2009.

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Action speaks louder: Violence, spectacle, and the American action movie. Westport, Conn: Praeger, 2004.

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Divine violence: Spectacle, psychosexuality & radical Christianity in the Argentine "dirty war". Boulder: Westview Press, 1992.

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Youth, murder, spectacle: The cultural politics of "youth in crisis". Boulder, Colo: Westview Press, 1995.

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Staging anatomies: Dissection and spectacle in early Stuart tragedy. Aldershot, Hants, England: Ashgate, 2005.

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The thief, the Cross, and the wheel: Pain and the spectacle of punishment in medieval and Renaissance Europe. Chicago: University of Chicago Press, 1999.

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The thief, the cross and the wheel: Pain and the spectacle of punishment in medieval and Renaissance Europe. London: Reaktion, 1999.

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Merback, Mitchell B. The thief, the Cross, and the wheel: Pain and the spectacle of punishment in medieval and Renaissance Europe. London: Reaktion Books, 1999.

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Book chapters on the topic "Spectacle violence"

1

Collins, Victoria E., and Dawn L. Rothe. "The commoditized spectacle." In The Violence of Neoliberalism, 40–56. 1 Edition. | New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429505768-4.

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McKenzie, Jon. "Abu Ghraib and the Society of the Spectacle of the Scaffold." In Violence Performed, 338–56. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-0-230-31692-8_16.

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Perkins, Christopher. "A Spectacle of Sex, Violence and Madness." In The United Red Army on Screen, 47–67. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137480354_3.

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McAra, Catriona. "Sadeian Women: Erotic Violence in the Surrealist Spectacle." In Violence and the Limits of Representation, 69–89. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137296900_5.

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Sager, Jenny. "The Aesthetics of Violence in Selimus." In The Aesthetics of Spectacle in Early Modern Drama and Modern Cinema, 127–39. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137332400_7.

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Creech, Brian. "The Spectacle of Past Violence: Travel Journalism and Dark Tourism." In Travel Journalism, 249–66. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137325983_14.

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Scafe, Suzanne. "Ethics, Representation, and the Spectacle of Violence in Marlon James's Short Fiction and the August Town Fiction of Kei Miller." In Narrating Violence in the Postcolonial World, 23–42. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003110231-3.

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Riedner, Rachel C. "From Spectacle to Crisis of Feeling: Slow Violence, Affective Rhetoric, and the Case of Caster Semenya." In Writing Neoliberal Values, 99–123. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137547774_5.

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Simkin, Stevie. "Spectacles of Death." In Early Modern Tragedy and the Cinema of Violence, 178–97. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230597112_12.

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Ford, Katherine. "Conclusion: Transforming Spectacles." In Politics and Violence in Cuban and Argentine Theater, 175–79. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105225_6.

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