Literatura académica sobre el tema "Alain Cavalier"

BackgroundToday, there are still no DMARDs licensed for primary Sjögren Syndrome (pSS) patients. Among the explanations, are the limitations of current outcome measures used as primary endpoints: e.g; high placebo response rate, evaluation of either symptoms or systemic activity, and important features not being assessed. The NECESSITY consortium (https://www.necessity-h2020.eu/), including pSS experts from academia, pharmaceutical industry and patient groups formed to develop a new composite responder index, the Sjögren’s Tool for Assessing Response (STAR) that solve the issues of current outcome measures in pSS and is intended for use in clinical trials as an efficacy endpoint.ObjectivesTo develop a composite responder index in primary Sjögren’s syndrome (pSS): the STAR.MethodsTo develop the STAR, the NECESSITY consortium used data-driven methods, based on 9 randomized controlled trials (RCTs), and consensus techniques, involving 78 experts and 20 patients. Based on reanalysis of rituximab trials (TRACTISS and TEARS) and literature review, the Delphi panel identified a core set of domains to include in the STAR, with their respective outcome measures. STAR options combining these domains were designed and proposed to the panel to select and improve them. For each STAR option, sensitivity to change was estimated by the C-index (derived from Effect size) in all 9 RCTs. Delphi rounds were run for selecting STAR among these options. The Delphi panel also voted to classify trials as positive, negative or “in between” in regards to primary but also key secondary endpoints. For the options remaining before the final vote, meta-analyses of the RCTs were performed separately for positive and “in between” trials together, and for negative trials.ResultsThe Delphi panel identified 5 core domains (systemic activity, patient symptoms, lachrymal gland function, salivary gland function and biological parameters), and 227 STAR options, combining these domains, were selected to be tested for sensitivity to change. After two Delphi rounds, meta-analyses of the 20 remaining options were performed. The candidate STAR was selected by a final vote based on metrological properties and clinical relevance. In positive/in between trials, candidate STAR detected a difference between arms (OR 3.29, 95%-CI [2.07;5.22], whereas it did not in negative trials (OR 1.53, 95%-CI [0.81;2.91]).ConclusionThe candidate STAR is a composite responder index, including in a single tool all main disease features, and is designed for use as a primary endpoint in pSS RCTs. Its rigorous and consensual development process ensures its face and content validity. The candidate STAR showed good sensitivity and specificity to change. The candidate STAR will be prospectively validated in a dedicated three arms RCT of the NECESSITY consortium that will evaluate combination of synthetic DMARDs (hydroxychloroquine + lefunomide or hydroxychloroquine + mycophenolate vs placebo). We encourage the use of STAR in any ongoing and future trials.Table 1.Candidate STARDomainPointDefinition of responseSystemic activity3Decrease of clinESSDAI ≥ 3Patient reported outcome3Decrease of ESSPRI ≥ 1 point or ≥ 15%Lachrymal gland function1Schirmer:If abnormal score at baseline: increase ≥ 5 mm from baselineIf normal score at baseline: no change to abnormalOrOcular Staining Score:If abnormal score at baseline: decrease ≥ 2 points from baselineIf normal score at baseline: no change to abnormalSalivary gland function1Unstimulated Whole Salivary Flow:If score > 0 at baseline: increase ≥ 25% from baselineIf score is 0 at baseline: any increase from baselineorUltrasound:Decrease ≥ 25% in total Hocevar score from baselineBiological1Serum IgG levels: decrease ≥ 10%orRheumatoid Factor levels: decrease ≥ 25%Candidate STAR responder≥ 5 pointsESSDAI: EULAR Sjögren syndrome disease activity index; ESSPRI: EULAR Sjögren syndrome patient reported index; IgG: Immunoglobulin G;AcknowledgementsNECESSITY WP5 STAR development participants: Suzanne Arends (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Francesca Barone (Centre for Translational Inflammation Research, Institute of Inflammation and Ageing, University of Birmingham, Birmingham, UK), Albin Björk (Division of Rheumatology, Department of Medicine, Karolinska Institutet, Stockholm, Sweden), Coralie Bouillot (Association Française du Gougerot Sjögren et des Syndromes Secs, France), Guillermo Carvajal Alegria (University of Brest, Inserm, CHU de Brest, LBAI, UMR1227, Brest, France; Service de Rhumatologie, Centre de Référence Maladies Autoimmunes Rares CERAINO, CHU Cavale Blanche, Brest, France), Wen-Hung Chen (GlaxoSmithKline, Research Triangle Park, North Carolina, USA), Kenneth Clark (GlaxoSmithKline Medicines Research Centre, Gunnels Wood Road, Stevenage, Hertfordshire SG1 2NY, United Kingdom), Konstantina Delli (Department of Oral and Maxillofacial Surgery, University Medical Center Groningen (UMCG), University of Groningen, The Netherlands), Salvatore de Vita (Rheumatology Clinic, University Hospital of Udine, Italy), Liseth de Wolff (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Jennifer Evans (Novartis Pharmaceuticals corporation USA), Stéphanie Galtier (Institut de Recherches Internationales Servier (IRIS), Suresnes Cedex, France), Saviana Gandolfo (Rheumatology Clinic, Department of Medical area, University of Udine, ASUFC, 33100 Udine, Italy), Mickael Guedj (Institut de Recherches Internationales Servier (IRIS), Suresnes Cedex, France), Dewi Guellec (CHU de Brest, Service de Rhumatologie, Inserm, CIC 1412, Brest, France), Safae Hamkour (Center of Translational Immunology, Department of Immunology, University Medical Center Utrecht, Utrecht 3584 GA, Netherlands), Dominik Hartl (Novartis Institutes for BioMedical Research, Basel, Switzerland), Malin Jonsson (Section for Oral and Maxillofacial Radiology, Department of Clinical Dentistry, Faculty of Medicine and Dentistry, University of Bergen, Norway), Roland Jonsson (Broegelmann Research Laboratory, Department of Clinical Science, University of Bergen, Department of Rheumatology, Haukeland University Hospital, Bergen, Norway), Frans Kroese (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Aike Albert Kruize (University Medical Center Utrecht, Department Rheumatology and Clinical Immunology, Utrecht, Netherlands), Laurence Laigle (Institut de Recherches Internationales Servier (IRIS), Suresnes Cedex, France), Véronique Le Guern (AP-HP, Hôpital Cochin, Centre de référence maladies auto-immunes et systémiques rares, service de médecine interne, Paris, France), Wen-Lin Luo (Department of Biometrics and Statistical Science, Novartis Pharmaceuticals, East Hanover, New Jersey), Esther Mossel (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Wan-Fai Ng (Institute of Cellular Medicine, Newcastle University, Newcastle upon Tyne NE2 4HH, UK), Gaëtane Nocturne (Department of Rheumatology, Université Paris-Saclay, INSERM U1184: Centre for Immunology of Viral Infections and Autoimmune Diseases, Assistance Publique-Hôpitaux de Paris, Hôpital Bicêtre, Le Kremlin Bicêtre, Paris, France), Marleen Nys (Global Biometric Sciences, Bristol Myers Squibb, Braine L’Alleud, Belgium), Roald Omdal (Clinical Immunology Unit, Department of Internal Medicine, Stavanger University Hospital, PO Box 8100, 4068, Stavanger, Norway), Jacques-Olivier Pers (LBAI, UMR1227, University of Brest, Inserm, Brest, France and CHU de Brest, Brest, France), Maggy Pincemin (Association Française du Gougerot Sjögren et des Syndromes Secs, France), Manel Ramos-Casals (Department of Autoimmune Diseases, Hospital Clinic de Barcelona Institut Clinic de Medicinai Dermatologia, Barcelona, Catalunya, Spain), Philippe Ravaud (Centre d’Epidémiologie Clinique, Hôpital Hôtel-Dieu, Assistance Publique-Hôpitaux de Paris, Paris, France), Neelanjana Ray (Global Drug Development - Immunology, Bristol Myers Squibb Company, Princeton, New Jersey, USA), Alain Saraux (HU de Brest, Service de Rhumatologie, Univ Brest, Inserm, UMR1227, Lymphocytes B et Autoimmunité, Univ Brest, Inserm, LabEx IGO, Brest, France), Athanasios Tzioufas (Rheumatology Clinic, Department of Medical area, University of Udine, ASUFC, 33100 Udine, Italy), Gwenny Verstappen (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Arjan Vissink, Marie Wahren-Herlenius (Division of Rheumatology, Department of Medicine, Karolinska Institutet, Stockholm, Sweden). We thank the following experts: Esen Karamursel Akpek, Alan Baer, Chiara Baldini, Elena Bartoloni, Marí-Alfonso Begona, Johan Brun, Vatinee Bunya, Laurent Chiche, Troy Daniels, Paul Emery, Robert Fox, Roberto Giacomelli, John Gonzales, John Greenspan, Robert Moots, Susumu Nishiyama, Elizabeth Price, Christophe Richez, Caroline Shiboski, Roser Solans Laque, Muthiah Srinivasan, Peter Olsson, Tsutomu Takeuchi, Frederick Vivino, Paraskevi Voulgari, Daniel Wallace, Ava Wu, Wen Zhang. We thank the anonymous patients from the NECESSITY Patient Advisory Group and the Sjögren Foundation for their valuable contribution to the Delphi process. We thank EW StClair and AN Baer who generated the baminercept data and made them publicly available.Disclosure of InterestsRaphaèle Seror Consultant of: GlaxoSmithKline, Boehringer, Janssen and Novartis, Grant/research support from: GlaxoSmithKline and Amgen, Gabriel Baron: None declared, Marine Camus: None declared, Divi Cornec Consultant of: GlaxoSmithKline, Bristol Myers Squibb, Janssen, Amgen, Pfizer and Roche, Elodie Perrodeau: None declared, Simon J. Bowman Consultant of: Abbvie, Astra Zeneca, Galapagos and Novartis Pharmaceuticals, Michele Bombardieri Consultant of: UCB, Amgen/Medimmune, Janssen, and GlaxoSmithKline, Grant/research support from: Amgen/Medimmune, Janssen, and GlaxoSmithKline, Hendrika Bootsma: None declared, Jacques-Eric Gottenberg Consultant of: AbbVie, Bristol Myers Squibb, Eli Lilly, Galapagos, Gilead, Pfizer, Roche, Sanofi, Novartis, MSD, CSL-Behring and Genzyme, Grant/research support from: Bristol Myers Squibb, Benjamin Fisher Speakers bureau: Bristol Myers Squibb and Novartis, Consultant of: Novartis, Bristol Myers Squibb, Janssen and Servier, Grant/research support from: Servier, Galapagos and Janssen, Wolfgang Hueber Shareholder of: Novartis Pharma, Employee of: Novartis Pharma, Joel van Roon: None declared, Valerie Devauchelle-Pensec: None declared, Peter Gergely Shareholder of: Novartis Pharma, Employee of: Novartis Pharma, Xavier Mariette Consultant of: Bristol Myers Squibb, Galapagos, GlaxoSmithKline, Janssen, Novartis, Pfizer and UCB, Grant/research support from: Ose Pharmaceuticals, Raphaël Porcher: None declared

Comment définir l'émotion ressentie devant ces plans singuliers où un cinéaste introduit sa main dans le cadre pour toucher ce qu'il filme ? Dans cette recherche, j'ai proposé d'appeler ce geste cinématographique "plan-contact". Les films d'Alain Cavalier présentent une variété considérable de "plans-contact" : ne seraient-ils pas le signe, chez lui, de toute une pensée du cinéma ? Le cinéma d'Alain Cavalier est un cinéma du contact : il met en œuvre le corps de l'auteur qui cherche à aller au plus près, à établir un lien direct avec ce qu'il filme, à créer un échange pouvant aller jusqu'à la fusion. Mais c'est aussi un cinéma de la preuve qui s'appuie sur des documents, des faits divers, des témoignages, des "images-racines", des expériences vécues. Le contact et la preuve : Alain Cavalier ne filme que ce qu'il peut toucher. D'Un Américain (1958) au Filmeur (2005) j'ai étudié l'évolution du "plan-contact" (embryons, formes premières, ébauches, naissance et dissolution) dans toute l'œuvre du cinéaste et suivi les métamorphoses du cinéaste devenu filmeur
How does one define the emotional impact of such singular shots in which a film-maker literally reaches his hand into the frame to touch what he's filming? In my research, I have decided to label this cinematic gesture a "contact-shot". Alain Cavalier's films offer a wide variety of such "contact-shots": are they not shots that emblematize his vision of the cinema? His films are “contact-films”: he puts his entire self into his works and strives to get to the heart of matters, to create a direct link with what he's filming and foster an exchange at times verging on fusion. But his films may also be qualified as “proof films” in the sense that assertions are based on documents, events of all kinds, eye-witness accounts, “root-images” and true-life experiences. “Contact and proof”: Alain Cavalier only films what he can touch. Spanning the author's entire works from Un Américain (1958) right through to Filmeur (2005) I have focused on the evolution of the “contact-shot” concept in its various stages (nascent forms, first attempts, experimentations, its emergence and progressive dissolution) and thus witnessed the author's transformation from film director into “filmer” (filmeur)

Cette recherche développe une réflexion autour du photographique dans son lien à la mémoire et au deuil, qu’il soit intime ou d’ordre historique. Elle montre que la photographie est une figure de deuil, autrement dit, elle fait à la fois coupe et lien. A travers un corpus restreint de trois films-essais, elle analyse des figures de deuil et des gestes filmiques singuliers. Dans La Danse des souvenirs (2002), Naomi Kawase est confrontée à une mort intime. L’imbrication de clichés photographiques dans le film produit une suspension qui provoque un renversement dans cette trajectoire dont l’issue semblait fatale. La cinéaste use de la photographie comme une figure de lien qui permet de relier les vivants et les morts. Dans Ce répondeur ne prend pas de messages (1978), Alain Cavalier, incarne un homme endeuillé. Le cinéaste reprend un grand nombre de clichés photographiques tirées de ses archives personnelles, parmi lesquelles des coupures de journaux représentant des cadavres de la guerre. A travers ce geste de reprise, la problématique prend une dimension historique. À l’instar de la photographie devenue ici figure de coupe, le film déploie un ensemble de figures où la rupture insiste, participant d’un jeu de deuil. Avec Le Journal (1973-1982) de David Perlov qui est enserrés entre deux guerres, le texte aborde la problématique dans sa dimension politique. Le cinéaste israélien qui est aussi photographe, utilise différents formats de photographies. A travers les gestes de reprises et de répétitions, le photographique permet une transformation de la figure qui permet la séparation avec un passé traumatique
This dissertation is a consideration of the photographic in its relation to memory and mourning in both their personal and historical forms. It demonstrates how photography is a figure of mourning; how it is at once a means of connecting and a means of cutting off. Figures of mourning and filmmakers’ unique formal gestures are analyzed through a pared-down corpus of three essay films. In Letter From a Yellow Cherry Blossom (2002), Naomi Kawase is personally confronted with death. Her use of photographic stills provokes an interruption that reverses a seemingly fatal trajectory. Photography is a connecting figure that brings together the living and the dead. In Alain Cavalier’s This Answering Service Takes No Messages (1978), the filmmaker embodies a man in mourning. He uses a number of photographic stills from his personal archives, including newspaper clippings showing cadavers from the Second World War. This gesture of reuse brings out the historical dimension of the issues investigated in this dissertation. Photography becomes a figure of cutting off: the film deploys a number of figures through which rupture is insistent and participates in a process of mourning. In David Perlov’s Diary (1973-1982), a project bookended by two wars, these issues take on a political dimension. The Israeli filmmaker and photographer makes use of a number of photographic formats. Through reuse and repetition, the photographic allows for a transformation of the figure that breaks off from a traumatic past

Contém: Anexos: Jacarepaguá (2017). Tabú (2018). À memória de Nilda (2019) apenas consultável na Biblioteca da Faculdade de Belas-Artes
La thèse Found Footage à l'ère numérique, le montage avec les films d'archives amateurs et familiaux a pour objectif étudier la pratique du found footage, en particulier la création de films réalisés avec des archives amateur et de famille à l'ère du numérique, en faisant attention aux particularités du montage dans de telles oeuvres audiovisuelles. L'étude approfondit les connaissances sur ce sous-genre du film de montage, le film créé à partir d'archives amateurs, remettant en question les archives et les documents historiques, les mémoires personnelles et les mémoires collectives, la représentation et l'évolution technologique, la sphère privée et la sphère publique et la dissolution de frontières entre cinéma amateur, cinéma expérimental et documentaire. Dans le cadre d`une recherche théorique et pratique, j’ai réalisé trois courts métrages qui ont servi de fil conducteur à cette étude, à savoir : Jacarepaguá (2017), Tabu, propriedade privada (2018) et À memória de Nilda (2019). Les films ont été créés à partir de vieilles images d’amateur et de familles, recueillies par moi ou bien provenantes de l`archives privé portugais Ideias no Escuro. Cette thèse théorico-pratique s'inscrit dans la continuité de ma recherche de maîtrise sur les films de montage d'archives, intitulée Found Footage, mouvement cinématographique contemporain. La thèse Found Footage à l'ère numérique, le montage avec les films d'archives amateurs et familiaux s'inscrit dans un mouvement académique en faveur de l'élargissement de la connaissance des archives amateurs et familiales au cinéma, en tenant compte la réalité contemporaine des technologies et des écosystèmes numériques, autrement dit de la disponibilité et de la circulation dans le réseau numérique des archives photographiques et audiovisuelles, ainsi que des oeuvres créées avec ce matériau en ligne.

Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century, exploring the work of artists and philosophers who complicated the usual association between the past and tradition or the future and modernity. The book retraces the “archaeomodern turn” in media and theory that viewed the past as a repository of abandoned but potentially transformative modern experiments. Three theoretical chapters consider key figures—Walter Benjamin, Gilles Deleuze, and Serge Daney—who grappled with the late twentieth century’s characteristic concerns, including history, memory, and belatedness. It reframes this theoretical work on film as a mourning play for revolutions past and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Like Daney, the book emphasizes the value of looking at cinema and the century in the “rear—view mirror,” at the aging of a quintessentially modern art like film, and at the phantoms that remain after the passage into the era of new media. The second part of the manuscript, titled “The Cinema of Painters,” is structured around a series of interactions among media, filmmakers, and national traditions. It examines late twentieth—century filmmakers who systematically adopt strategies normally associated with other visual media or art forms, especially painting. Focusing on Alain Cavalier, Terence Davies, Jean—Luc Godard, Peter Greenaway, Derek Jarman, and AgnèVarda, the book concentrates on films that fill the frame with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes.

Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.

Drawing from notions of ‘synthesis’ and ‘ideology’ associated with Edgar Morin and Richard Dyer, theories of late-colonial stardom proposed by Guy Austin and Sarah Leahy, alongside Ginette Vincendeau’s understanding of Jean Gabin’s ‘redeemed’ militarised masculinity, this chapter is split into two sections. In part one, it focuses on Alain Cavalier’s 1964 L’Insoumis/The Unvanquished, illustrating the ways in which Cavalier frames the face of Alain Delon, undoubtedly one of the biggest French film stars of the late-colonial period, as a beautiful object; one that neutralises the paramilitary violence performed by his filmic body. Part two of this chapter then extends these thoughts to Mark Robson’s Les Centurions/Lost Command (1966), suggesting that a similar tendency towards historical sublimation is at play in Robson’s film, specifically in relation to the director’s portrayal of paratroopers as visual spectacles to be admired and adored. I ultimately suggest that – through their configurations of stardom – neither film represents the French military as guilty of the colonial crimes committed in the extra-filmic world. In both, beauty supersedes violence as France’s complicity in atrocities is – to use Dyer’s lexicon – ‘obscured’.

La Parisienne is frequently associated with prostitution, whether in the narrow sense of the streetwalker or courtesan or the general sense of the object and subject of consumption. Tracing her development in nineteenth-century art and literature, this chapter examines the way the Parisienne as courtesan is re-presented in cinema in Charles Chaplin’s A Woman of Paris (1923), Alain Cavalier’s La Chamade (1968), and Baz Luhrmann’s Moulin Rouge! (2001). Cinematic courtesans have their prefigurations in both real life courtesans of the Second Empire, as well as in representations in French art, literature, and visual culture (Manet, Degas, Toulouse-Lautrec, Balzac, Zola, Dumas fils). Motifs associated with the Parisienne courtesan include the familiar tropes associated with Paris as a demimonde: desire, pleasure, and consumption. Alongside these tropes are the visual and narrative motifs on which the iconography of the Parisienne courtesan is based: fashion or style (often conceived to denote luxury and leisure), transformation (usually from provincial to high class), ambiguity (insofar as her class origins, motivations, and emotional allegiances are generally obscure), and the ménage à trois (films featuring Parisienne courtesans often involve the choice between an earnest but poor lover and a rich benefactor).